#kind of a recreation/echo made by the jungle itself

[wingsandpetals]

starts chewing on wires the second bdubs steps into the jungle

#BITES STUFF #SO TRUE!!!!!! THAT'S WHERE YOU WERE BORN!!!!!!!!!!!!!!!!!! #our post comrade. #im not a big lore person but its my own pet headcanon that s5 bdubs was consumed completely by the jungle and current bdubs is a new being #kind of a recreation/echo made by the jungle itself #or even that he IS the jungle in a way. #im nuts 👍👍👍 thanks for listening #bdubs #vines puppeting a body around that eventually forgets it was ever anything else or whatever...

[dustedmagazine]

Dust, Volume 6, Number 11

HAAi

As it was with September, so it is with October. After what felt like the dam breaking on all those albums optimistically held back by the pandemic, October continued to rain down releases and there was no shortage of them to cover. As ever, if diversity’s your thing, we have it: From pimp-rap to free jazz, death-metal to AM gold, jungle to Azerbaijani guitar jams, we got it all for you to peruse. Contributions this go ‘round come care of Ray Garraty, Ian Mathers, Bill Meyer, Jonathan Shaw, Andrew Forell, Tim Clarke, Justin Cober-Lake, Patrick Masterson and MIchael Rosenstein.

AllBlack — No Shame 3 (Play Runners Association/Empire)

Just when we thought that pimp-rap was going out of business, AllBlack blessed us with No Shame 3. It is a lot of what it claims: playfulness with no shame, ignorant beefs, endless balling during California nights and showing off in earnest. AllBlack alludes to the fact that even though he’s getting that rap check, he’s far from quitting the pimp game: “Made 40K in eight days, that was just off pimpin'.” But behind this happy façade is something darker that’s looming on: “As I got older, I ain't scared, I guess I'm cool with death / You speak the truth and they gon' knock you down like Malcolm X.” While admitting that rap is a cutthroat game, AllBlack is only one of the few artists of a younger generation who is ready to pay respects in his songs to the OGs — the godfathers of pimp-rap, to Willie D, Dru Down and Too $hort. The standout track here is “Pizza Rolls,” where DaBoii and Cash Kidd drop in to deliver the funniest lines. 

Ray Garraty

Bardo Pond — Adrop/Circuit VIII (Three Lobed Recordings)

Adrop / Circuit VIII by Bardo Pond

There are plenty of reasons to do small, limited runs of certain releases, in music as in other artistic fields, ranging from the brutally practical/logistical to the aesthetic, but when the material released in that fashion is good enough, it can be a relief to see it given further life (and not just digitally). This year saw the mighty Three Lobed Recordings (who we featured in an anniversary Listed here) has seen fit to reissue on vinyl two Bardo Pond LP-length pieces that were originally issued in limited run series back in 2006 and 2008. They were in good (and varied) company then, but resonate together in a pretty special way, whether it’s the tripartite Adrop wandering from gnarled, crepuscular grind to violin-powered epiphany or back down to delicate nocturnal acoustics. The longer Circuit VIII doesn’t have as distinct phases but still builds to an all-time Bardo Pond-style crescendo, featuring Isabel Sollenberger’s only vocals of the duo. Even with a band and label this consistently on point, these particular recordings are worth the wider dissemination, whether considered as archival releases or just a hell of a double album.

Ian Mathers

John Butcher & Rhodri Davies — Japanese Duets (Weight of Wax)

Japanese Duets by John Butcher & Rhodri Davies

There’s a bittersweetness about Japanese Duets that’s as pungent as the puckered, perfectly placed reports that English saxophonist John Butcher sometimes punches out of his horns. This is the third in an ongoing series of download-only releases that Butcher, idled by COVID-19, has culled from his archive, The Memory of Live Music, and the unbearable lightness of its format, only accentuates the sense of lost opportunities and experiences. One of the things that a touring musician gains in exchange for their embrace of uncertainty is the chance to go to some unlikely place and undergo something extraordinary. The four-page PDF that comes with this download reproduces photos from Butcher and Welsh harpist Rhodri Davies’ 2004 tour of Japan, which took in swanky museums and shoebox-sized jazz cafes; each image looks like a moment worth living. But if all you can do is hear the evidence, that’s not exactly settling. This improvising duo was audibly on a roll, pushing reeds and strings to sound quite unlike their usual selves, and challenging each other to move beyond logic to the rightness of jointly made and imagined moments. Thanks, guys, for sharing the memories. 

Bill Meyer

Ceremonial Bloodbath — The Tides of Blood (Sentient Ruin Laboratories)

The Tides of Blood by Ceremonial Bloodbath

Yikes — talk about truth in advertising. Canadian death-metal band Ceremonial Bloodbath delivers the goods promised by their moniker and this new LP’s title. It’s a repellent record created by dudes that play in a bunch of other death-metal bands based in British Columbia: Grave Infestation, Encoffinate (not Encoffination), Nightfucker and numerous others that tunnel even further under the broader public’s attention. Give these guys credit for their single-mindedness: None of those bands is likely to make you feel any happier about the human condition. Neither will listening to The Tides of Blood, but it’s a better record than any that those other acts have released. The songs are low-tech, dissonant and about as subtle as a bulldozer’s blade knocking through your front door. In other words, the record is largely in line with what we’ve come to expect from the death-metal recently dug up by Sentient Ruin Laboratories, and for a certain kind of listener, that’s a good thing. Check out “The Throat of Belial,” which comes on hard and fast, then downshifts into second gear and unleashes a tangled, coruscating sort-of-guitar-solo. The mechanical chug reasserts itself, then speeds up again, unleashing steam and the smell of something… organic. The song has a ruthless momentum, as does the rest of the record. Pretty good Halloween music if you want to scare all the trick-or-treaters off your lawn.

Jonathan Shaw

Cut Worms – Nobody Lives Here Anymore (Jagjaguwar)

Max Clarke evokes a wistful nostalgia for an America that existed perhaps only in the mind, the warm campfire glow of an era personified by The Everly Brothers’ harmonies, the twanging guitars of country rock and 1970s singer songwriters. On his new album as Cut Worms, Clarke literally doubles down on his musical project. Nobody Lives Here Anymore comes in at 17 songs that, while individually fine enough, meld into one another and gradually fade from the memory as the album unwinds. Clarke never quite transcends his influences and is not a strong enough lyricist to engage at this length. The effect is similar to that of The Traveling Wilburys where the whole is lesser than the sum of its parts. That said, Clarke is engaging company with a voice that splits the difference between the aforementioned siblings, Roy Orbison and Tom Petty. He has an ear for a melody and skillfully recreates an AM radio sound that trips the memory for anyone who grew up with this music either as inescapable background of their lives or soundtrack for their teen dreams and heartaches. 

Andrew Forell

Dead End America — Crush the Machine (Southern Lord)

Crush the Machine by Dead End America

This new EP by Dead End America (DEA — see what they did there?) comprises four short, piledriving hardcore songs, all directly addressed to the current occupant of the Oval Office. “Bullet for 45 (Straight From a .45)” neatly captures the EP’s essential sentiments, and also suggests the general level of restraint exercised by the whole enterprise. Hint: Restraint and nuance are not Dead End America’s strong suits. That’s not surprising, given the folks involved. The band and record were conceived by Steve “Thee Hippy Slayer” Hanford, late of Poison Idea, and of this world. It’s pretty wonderful that this is some of the last music Hanford produced — pissed off and irreverent to the very end. Additional contributors include Nick “Rex Everything” Oliveri (the Dwarves), Mike IX Williams (Eyehategod), Blaine Cook (the Fartz) and Tony Avila (World of Lies). Sort of remarkable that a record including players from all those legendarily vile, venomous bands doesn’t just spontaneously self-combust; maybe it helps that they focus their collective rage on such a deserving target. RIP Steve Hanford. The wrong people are dying.

Jonathan Shaw

Chloe Alison Escott — Stars Under Contract (Chapter Music)

Stars Under Contract by Chloe Alison Escott

Chloe Alison Escott is the frontwoman of Tasmanian post-punk duo The Native Cats, and her pre-transition solo album, The Long O, released on Bedroom Suck back in 2014, received justified plaudits upon its release. (It remains a low-key favorite of mine.) New solo piano-and-vocals album Stars Under Contract was all recorded in one day by Evelyn Ida Morris (Pikelet), which lends these performances an on-the-fly liveliness. For the most part, it’s rollicking fun, with some wryly funny lyrics that betray Escott’s sideline in standup comedy. This performative confidence comes through in early highlight “There’s Money in the Basement,” which has the jaunty barroom bounce of “Benny and the Jets.” Later, Escott reaches for the heavens on single “Back Behind the Eyes Again,” with a truly heartbreaking piano progression. Though the 16 tracks are wisely interspersed with short instrumentals such as “What Are You Reaching For,” “Evening, Sunshine” and “Playfair,” 43 minutes is a lot of piano-and-vocals songs to get through in a single sitting. On closing track “Permanent Thief,” there’s a tantalizing flash of drum machine and bass, which could be a nod there’s another Native Cats album on the way soon. 

Tim Clarke

Eiko Ishibashi — Mugen no Juunin - Immortal - Original Soundtrack (King)

If you sit up nights fretting about how Eiko Ishibashi and her partner, Jim O’Rourke, pay the bills, this music may be your melatonin for your worried mind. Immortal is the soundtrack for Blade of the Immortal, an anime adaption of a popular manga that’s been picked up by Amazon Prime. Ishibashi composed and played the music with contributions from Tetuzi Akiyama, joe Talia, Atsuko Hatano, and O’Rourke, who also mixed the music. Ishibashi’s music echoes the affect-stirring melodies of her song-oriented material and the careful sound placement of her recent electro-acoustic work for Black Truffle; when the swirl of keyboard tones looms over her piano on “Animal,” there’s no mistaking it for anyone else’s work. But this is still made for a mass market, with unabashed classical music lifts and big, booming electronic percussion that would make a multiplex’s walls throb if you gave it a chance. There’s no physical release or Bandcamp option, so if you want to check this out, Apple Music and iTunes are your options. 

Bill Meyer

Ela Minus — Acts of Rebellion (Domino)

Colombian musician Gabriela Jimeno’s debut album as Ela Minus is a collection of original tracks that merge songcraft and club sounds into an assured mix of electronica on which she plays all the instruments and sings in both Spanish and English. After spending her teenage years drumming for hardcore band Ratón Pérez, Jimeno studied jazz drums as well as the design and construction of synthesizers, and she eschews the use of computers to create her music. She brings a DIY spirit to her work combined with meticulous production style that gives acts of rebellion the experimental edge of early 1980s independent synthpop. The highlight "Megapunk” is musically close in spirit to Cabaret Voltaire, its defiant lyrics — “There’s No Way Out But to Fight” — tying freedom of expression to wider human progress. A textured and nuanced album, Ela Minus joins an ever-growing group of South American producers to tune into.

Andrew Forell

Erik Friedlander — Sentinel (Skipstone)

Sentinel by Erik Friedlander

Cellist Erik Friedlander seems to pop up in the oddest places, playing now with the Mountain Goats, then with Dave Douglas, and finding a little time for film scoring on the side. It's reasonable that for new album Sentinel, he'd connect with a couple of other artists — guitarist Ava Mendoza and percussionist Diego Espinosa — equally comfortable with finding unexpected sounds in a variety of styles. The group, given their background, sounds their best when they're blending genres. “Flash” starts off as new jazz, turns into rock for a moment, then some strange cello lead pushes it into alien territory. At the edges of the trio's work, heavy rock often feels about to break out, but the group refrains from ever indulging that impulse. “Feeling You” even provides some light, pretty pop, allowing the band to show its full breadth.

Friedlander's compositions provide the basis for the album, but Sentinel never feels like just his album. The band, assembled for what sounds like a hurried set of takes, found their partnership quickly, turning the pieces into fluid performances. “Bristle Cone” lets all three members shine and functions like a microcosm of the disc as a whole: As soon as you think it's a guitar album, you start paying attention to the percussive elements; as soon as you remember it's experimental cello work, you're back to guitar rock. The trio's engagement with the music and with each other comes through, the playful innovation guiding each piece into a multifaceted whole.

Justin Cober-Lake

HAAi — Put Your Head Above the Parakeets EP (Mute) 

Put Your Head Above The Parakeets by HAAi

Though it was Teneil Throssell’s mixes that initially made her name as HAAi (and remain strong even amid the pandemic, her latest for XLR8R another beauty), her own productions are a wonder unto themselves that demand repeat listens even as they come a trickling single or carefully cultivated EP at a time. The Karratha, Australia native, Coconut Beats hostess and Rinse and Worldwide FM veteran’s latest is the delightfully titled Keep Your Head Above the Parakeets EP, pure headphones music meant for sunrises, sunsets, walks in deep snow, rain-swept moors, you name it. Her talent is in balancing airy synth melodies with ever-shifting percussion influenced primarily by jungle, breaks and (ultimately) house; when people talk about psychedelic dance music, this is something like what I always hope to hear. Another unmissable missive.

Patrick Masterson

Hübsch, Martel, Zoubek — Ize (Insub)

Ize by HÜBSCH, MARTEL, ZOUBEK

Decades have passed since Derek Bailey wrote his book, Improvisation. At that time, it was already clear that the intentionally non-idiomatic music he pioneered and practiced was a subset of the more universal matter of improvising as a necessary aspect of playing music. It was also becoming clear that non-idiomatic improvisation’s aspirations and proscriptions amounted to a new but quite identifiable idiom, and this Swiss trio is okay with that. If you told Carl Ludwig Hübsch (tuba, objects),Pierre-Yves Martel (viola da gamba harmonica, pitch pipes) and Philip Zoubek (piano, synthesizer) that the music on Ize sounds a bit like the British ensemble AMM’s, they’d likely nod and thank you for noticing. They’re not trying to make a new kind of music, they’re trying to be good at a kind of music that they love, and on those terms, they succeed. Aside from the occasional Feldman-esque piano phrase, they mostly trade in layers of tone and texture, operating in complementary parallel to one another, taking the listener through states of meditative stillness and slow-motion vertigo. 

Bill Meyer

J Majik — Your Sound - Photek & Digital V​.​I​.​P 12” (Infrared) 

J Majik - Your Sound - Photek & Digital V.I.P by J Majik / Photek / Digital

Released on the same day as the “This Sound” single that allegedly was refashioned from “unfinished jungle project from the vaults,” “Your Sound” was further proof that UK drum n’ bass vet Jamie Spratling bka J Majik still has plenty of material from the golden era to get out into the world. The original is a certified mid-’90s Metalheadz classic, but Photek and Digital’s reworking on the a-side “originally only destined for the dubplate boxes of the ultra-elite” has been floating in the ether for years as an alternative; its light Amen sequences and booming bass will have you yearning for every closed club you can’t attend. J Majik’s remix of his own tune on the flip was originally the b-side to a 1997 Goldie VIP edit, so having a more readily available remaster here does it a world of good. One for the headz, obviously.

Patrick Masterson

KTL — VII (Editions Mego)

VII by KTL

Most of KTL’s recordings have been seeded by theater and film soundtrack commissions. But when Stephen O’Malley (Sunn 0))), Khanate) and Peter Rehberg (Pita, Fenn O’Berg) found themselves in Berlin this past March with more time on their hands than they expected, they booked themselves into Mouse On Mars’ MOM Paraverse Studio sans portfolio and set to work. The first track, “The Director,” seems to acknowledge the situation by introducing the Shephard-Risset glissando, a repeated scale that sounds like it is endlessly ascending or descending. The titular figure never arrives, but while you’re waiting, fat looped electronics impart the experience of going somewhere while leaving you exactly where you’re at. The director isn’t the only value missing from this equation; O’Malley’s default sonic signature, a massive metallic wall of sound, has been softened to a close-shaving buzz that rattles and circles around within Rehberg’s synthetic/sonic biodome. That’s right, while you’ve been baking bread and putting on that COVID-15, KTL has actually lost weight! 

Bill Meyer

Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture — Grind Halts (Notice Recordings)

Grind Halts by Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture

Montreal-based guitarist Vicky Mettler, bassist Raphaël Foisy-Couture and Vancouver-based pianist Lisa Cay Miller are all new names to me. For their trio collaboration on Notice Recordings, the three work their way through a set of eight free improvisations that range from one and a half minutes to eight minutes long. The combination of piano, guitar and upright bass is striking from the start: Miller slips seamlessly between the keyboard and inside-string preparations, mostly eschewing readily identifiable sonorities of her instrument. Mettler’s resonant, brittle electric guitar is the perfect foil to Miller’s piano and one often has a hard time teasing apart where inside piano strings end and guitar strings begin. Add to that Foisy-Couture’s dark low-end bass, which he attacks with groaning scrapes, shuddering arco and assorted string treatments. The three engage in active improvisations, plying their respective instruments into a collective whole while steering clear of garrulous interaction. The fourth piece, “Lower” is as close to trio exchanges as things get, opening up the ensemble sound to allow shredded guitar textures, resounding piano chords and scabrous bass abrasions to accrue into pulsating timbral layers. A piece like “As It Spins” is more about process, adding in the rumble and clatter of assorted percussive detritus, used on their own and to activate the strings of the instruments, which jangle with resultant shimmering overtones. The pieces often segue one into the other, creating an enveloping sound-space throughout. Based on this one, I look forward to hearing more from each of the participants.

Michael Rosenstein

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mexico City-based duo Estrella del Sol Sánchez (voice, guitar) and Sebastian Neyra (bass) enlist drummer Callum Brown to expand the range of their dreamily psychedelic shoegaze on Mint Field’s second album Sentimiento Mundial. Sánchez has the breathy cadence of Rachel Goswell and moves easily between an almost folky introspection in her guitar playing to squalling walls of sound underpinned by Brown’s often motorik drums on tracks like “Contingenicia” and “No te caigas.” The bulk of the album is more reflective, Sánchez’ Spanish vocals close to your ear as she concentrates on atmosphere and dynamics. The result is a dreamscape that lulls, then hits with febrile bursts of restless dread, an impressive collection that fans of 4AD in particular should recognize and embrace. 

Andrew Forell

Takuji Naka/Tim Olive — Minouragatake (Notice Recordings)

Minouragatake by Takuji Naka/Tim Olive

Minouragatake (a mountain outside of Kyoto, Japan) is the fourth recording by Takuji Naka and Tim Olive, a duo that has played together for close to a decade now, melding together music of slowly evolving rich timbral abstraction. Each are consummate collaborators and for this session, they make their way across the seven untitled tracks with steadfast focus to the nuanced details of their respective sound sources. Naka utilizes “long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing.” Olive uses his regular array of magnetic pickups and low-tech analog electronics, drawing out volatile hums and changeable striations that coalesce with his partner’s slowly devolving layers of sound. These pieces are imbued with unflappable deliberation, each sound integrated into the cohesive, gradually unfolding improvisations. Each of the pieces sound as if one is tuning in mid-stream and end with a sense that they could continue on indefinitely. Rather than adhering to any formal developmental arcs, the two patiently sit within unfurling sonic worlds as layers ebb and flow. Naka’s degraded tapes lend an aura of catching wafts from some distant celestial emission which Olive subtly shades and colors with hisses, whispered mutable fuzzed gradations and aural grit. Snatches of scumbled lyricism morph into static-laden swirls; washes of flaked and tattered textures disperse into shuddering thrums. Naka doesn’t record much so it’s good to hear another project from him. Olive has been on a particular roll as of late and this one is a laudable addition to his discography.

Michael Rosenstein

Okuden Quartet — Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter (ESP-Disk)

Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter by Okuden Quartet: Mat Walerian/Matthew Shipp/William Parker/ Hamid Drake

Put aside the bleakness of this double album’s title because this music embodies the idea that things can get better. Not that there was anything wrong with Polish woodwinds player Mat Walerian’s previous recordings, which have all involved some combination of the musicians on this one. But Walerian has never sounded so strong on his various instruments (alto saxophone, bass and soprano clarinets, flute); so clear on how to get the most out of Matthew Shipp, William Parker and Hamid Drake; or so engaged with jazz, and not just the free jazz that he’s made with these gentlemen to date. By turns subdued, impassioned and bathed in all the shades of the blues, Walerian no longer sounds like a guy who has great taste in sidemen who happen to have played with some of the greats of our time, but a guy who sounds like he belongs in their company. Each lengthy track (they range from 11 to 18 minutes long) imparts a narrative feel without dispelling the mystery that makes you want to hear them again. Here’s hoping that when things start moving again, this band finds a way to move around the world and move us in person. 

Bill Meyer

Om — It’s About Time (Intakt) 

It’s About Time by OM - Urs Leimgruber, Christy Doran, Bobby Burri, Fredy Studer

To a fan, It’s About Time might sum up the feeling upon learning that the Swiss quartet Om finally recorded a new studio album 40 years after its predecessor, Cerberus (ECM). It also captures the existential question facing a quartet of improvisers, some of whose paths have often crossed during that time, but some of whom have taken very different roads. On the one hand, drummer Fredy Studer and guitarist Christy Doran play in a Jim Hendrix cover band with Jamaladeen Tacuma; on the other, soprano saxophonist Urs Leimgruber works mainly in freely improvised settings with the likes of Alvin Curran and Joelle Leandre these days. Burri seems to be the guy who has maintained connections with everybody. How to make sense of such a history without denying anyone’s musical identity? During their first go-around, between 1972 and 1982, Om was played polyrhythmic electric jazz. During the mostly low-profile gigs they’ve played since reconvening in 2008, they’ve had time to forge an updated vocabulary that is less groove-oriented but takes full advantage of the timbral resources on hand. While it’s evident that time has passed, it’s by no means a waste of time. 

Bill Meyer

Rüstəm Quliyev — Azerbaijani Gitara (Bongo Joe)

Azerbaijani music, by and large, hasn't broken through to the American mainstream. That might not change, but the new anthology release of Rüstəm Quliyev's work, titled Azerbaijani Gitara, at least makes a case against our insularity. Quliyev's work, even for an insider, would be hard to pin down given that the overriding goal seems to be the synthesis of as many styles of music as possible. Western ears will be most comfortable with the psych-rock influences here. Quliyev also reworks Bollywood, folk, Middle Eastern dance and more on his electric guitar. Taken from recordings from 1999-2004, this nine-song collection sounds more coherent than that idea might suggest, but no less frantic. Quliyev plays with a persistent energy, his kinetic approach matched my his chops, often with a tone reminiscent of Carlos Santana (if we reach a little). On songs like “İran Təranələri,” he allows the piece to develop patiently, but these cuts rely on movement and virtuosity. Quliyev had a challenging life cut short by lung cancer, but his music finds itself unleashed through apparent joy.

Justin Cober-Lake

ShooterGang Kony — Still Kony 2 (Empire) 

A fortnight shy of his 22nd birthday (this coming Wednesday, mark your calendars and send best wishes), Sacramento rapper ShooterGang Kony has dropped his second full-length project of the year in Still Kony 2, a skit-free set of songs with a Biggie homage as the cover that explores further his emotional depths while still retaining the bouncy Bay Area nature of his livelier side. There’s stuff like “Red Ice�� and “Fasholy Good,” of course, but there’s also the stretch of sobering songs later in the tracklist, including “Overdose,” “Flaggin” and the particularly affecting “Do or Die.” No matter the type of beat, though, Kony feels completely at ease with his cadence and wholly in control of his verses despite occasionally verging on a Detroit-like dismissal of the beat. Even if you can’t see the geekin’, you can certainly feel it.

Patrick Masterson

Suuns — Fiction EP (Joyful Noise)

FICTION EP by SUUNS

For better or worse, Suuns’ new Fiction EP is pretty much the sound of 2020 encapsulated, not in the sense of distilling current musical trends, but rather in succinctly conveying the disorientating feeling of living through a year that has been such a traumatic mess. Across these six tracks, the Montreal-based band creates a fuzzy, feedback-streaked, claustrophobic racket that just about coalesces into song forms around breakneck rhythm tracks. “Fiction” and “Pray” will meet the expectations of anyone expecting Suuns to continue sounding like fellow noise-rockers Clinic, but elsewhere there’s surprising variation to the band’s sound palette. Opener “Look” emerges out of the darkness like a warped apparition, concluding with a chant of what sounds like “Sheep, sheep, sheep.” They enlist the help of Jerusalem In My Heart for droning instrumental “Breathe,” and Amber Webber lends ghostly vocals to “Death.” At the EP’s end, the Mothers of Invention’s wailing blues-rock classic “Trouble Every Day” is barely recognizable, foregrounding Zappa’s lyrics and chewing them up into a garbled rush of splenetic invective. Though short, there’s something satisfyingly ghastly and cathartic about this EP that really cuts through.

Tim Clarke

Women — Rarities 2007-2010 (Flemish Eye/Jagjaguwar) 

Rarities 2007 - 2010 by Women

Some outlets rode much harder for Women than others when the band was still a dysfunctioning unit (RIP Cokemachineglow, namely), but there’s little doubt left a decade on that what the Calgary quartet had going was a volatile yet beautiful indie-rock ideal that hasn’t been duplicated in Viet Cong/Preoccupations or Cindy Lee since. These rarities, affixed to a deluxe decennial reissue of Public Strain due out in November, could all have made the final tracklistings of either of their full-lengths. The music veers between sunny ‘60s singalongs and dark guitar dissonance; I find myself thinking of The Walkmen’s first LP on “Bullfight” (a free release from 2011 in the aftermath of the band’s collapse the year before) and of The Chameleons on “Group Transport,” which is considerably more Janus-faced with its juxtaposed harmonies, for example. It took me much longer than it should have to come around on Women, but in case you’re still on the fence or also just never got around to them in the first place, perhaps this small coda will sway you in their favor once and for all.

Patrick Masterson

Yo La Tengo — Sleepless Night EP (Matador)

In July, Yo La Tengo released the abstract, droning instrumental EP We Have Amnesia Sometimes, harking back to the sound of their excellent soundtrack album The Sounds of the Sounds of Science (2002). This new Sleepless Night EP brings together five covers and one original, first released in conjunction with an L.A. exhibition by Japanese artist Yoshitomo Nara, who helped the band pick the songs. Sleepless Night opens with “Blues Stay Away” by The Delmore Brothers and “Wasn’t Born to Follow” by The Byrds, both fairly straight renditions of the blues and country-rock originals. The real keeper in this collection comes next in the form of Ronnie Lane’s “Roll On Babe,” beautifully sung by Georgia, which hypnotizes with its languid sway. Their cover of Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry” also has Georgia take the lead over beatless organ, bass and guitar. “Bleeding” is the sole original, a shimmering atmospheric piece with ghostly vocals from Ira, which dissolves in a pool of pitchshifted reverb. Finally, “Smile a Little Smile for Me” strips out the rhythm section from the Flying Machine original and slows the tempo, Ira’s measured vocal performance lending the song an affectingly forlorn slant. Though the material here offers few surprises, it’s a reassuring release from a justifiably loved band at a time when we could all use a little more reassurance.

Tim Clarke

#dusted magazine #dust #allblack #yo la tengo #women #suuns #shootergang kony #rustam quliyev #om #okuden quartet #takuji naka #tim olive #mint field #lisa cay miller #vicky mettler #raphael foisy-couture #ktl #j majik #hubsch #martel #zoubek #haai #erik friedlander #ela minus #eiko ishibashi #chloe alison escott #dead end america #cut worms #ceremonial bloodbath #john butcher

[haldirmarchwarden]

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ComingSoon.net | CS Discovers an Uncharted World and New Adventures on the Kong: Skull Island Set

[worth reading in full, Tom's interview included in the article]

There’s a sort of wonderment that fills you when you begin to see Hawaii coming into sight from the airplane window even for a movie fan who didn’t quite get the attraction of the island’s recreational mystique. You know, when you’re of the sort to prefer the inside of a movie theater more than toasting outside in the sun. So you could imagine my surprise when all of a sudden the Jurassic Park theme started playing in my head upon arrival to visit the set of Kong: Skull Island.

It really makes you think about how we look at iconic locations as movie fans.

Here is this place that, like many, I first gazed upon in a movie theater experience with Jurassic Park and continued to watch over and over again on a quickly-fading VHS growing up in urban Inglewood, CA. The sort of place where going to Hawaii didn’t quite appeal, perhaps because it’s not as accessible.

And yeah, arriving there you do get compelled to take part in some of the island’s offerings, like walking out into the beach in a swimsuit, because you know if you don’t try to do “Hawaii things” people back home, who would if they were in your shoes, would be sorely disappointed. Just don’t Hawaii so hard that you fall off some rocks into a shallow section of the ocean, and have a minor brush with genuine coral while face-timing loved ones. Already, this visit was off to an adventurous start.

The next day as the press group was driven out of touristy Waikiki through the island mountains to the north side of the island of Oahu, the John Williams score started mentally playing again. Okay, it’s hard to avoid bringing JP, but everyone in the van also thought it and I’m pretty sure we hummed along to the tune at some point in the long drive.

The Kong set itself was nestled in Kualoa Ranch, where – yes JP was shot. What? We totally saw the Indominus Rex enclosure RIGHT THERE! And drove by locations with O.G. JP signs STILL THERE!

Okay, geeking out aside, it makes perfect sense. A different side of the Island’s mystique starts to creep up on you. Away from the city in the middle of the jungle of Kualoa, you’re transported to another world. That’s when it hits you: The realization that the only human things there are the people on set, equipment, and transportation, but that there’s so much more of everything else made by nature that’s bigger than you. So, it’s no wonder that this place is so often used as a backdrop for a fictional fantastic violent landscapes where predators have the upper hand over prey and prey must scramble to find ways to survive.

And that’s where Warner Bros. and Legendary‘s Kong: Skull Island starts.

Kong The Story

Making the choice to keep the focus on man meeting Kong in the wild post-Vietnam war appealed to director Jordan Vogt-Roberts as something that’s never been explored. Standing on a beach — much like the one his film starts on — he explained, “You’ve seen Kong in the ’30s before, you’ve never seen him against modern-issue weaponry.” He painted a scene as it would unfold on Skull Island. “Just the aesthetics of choppers, and napalm, and Hendrix playing while you’ve got Kong punching down helicopters is something that I’ve never seen and I think something that could only exist in our movie. Because obviously choppers, napalm, and everything that is ‘Apocalypse Now’ and ‘Platoon’ mixed with ‘King Kong’ is awesome – just from like a genre mash up perspective.”

Already the colors and palette he was drawing inspiration from attracted our interest. Kong plus lots of explosions? Awesome. In between his break and before the lot of us were to be taken to a hot set, leading man Tom Hiddleston sat down on the beach to affirm the choices that were being made. “I think we were all talking the other day about the size of these movies and the fact that you can contain incredible spectacle, human drama, jaw dropping visuals, and really deliver something entertaining”. he echoed Vogt-Roberts. However, Hiddleston did remark that this interpretation is much more than just action and war. “You’re also retelling a story that we keep telling ourselves. Which is that man is small in the universe. There’s something really powerful about that. I think that Jordan’s master stroke in his conception of the story was post Vietnam 1972.”

Back on the other side of the beach Jordan shared, “Specifically what got me really interested in it was thinking about taking characters and taking the thematics of the time period in which the world was kind of in chaos and we were sort of one foot in the old guard and one foot in the new guard and people were trying to find their place in the world.”

With that, we were already beginning to see a departure from the original 33’s gentle giant tale and Peter Jackson’s beauty and the beast take on the icon we’re familiar with. Even with touches of the action in the Toho universe, Vogt-Roberts aims to re-imagine Kong’s mythology for a new generation that looks back on a time gone by while mirroring things happening today.

Later, while we were tucked in a tent away from set, actress Brie Larson came over to share her excitement about the film. “That’s the interesting thing about this movie. It’s a group of misfits that are all coming from different angles looking at the same thing,” she observed in agreement with Jordan’s vision. “You get to see many different views in regards to nature and how we should handle it and how it’s dealt with from many different perspectives.”

Offering the film’s antagonistic perspective, as his character represents man’s militaristic ambition to sit atop the food chain, is star Samuel L. Jackson, who described the clash in the film as, “The misunderstanding of what one beast’s purpose is in nature as opposed to another.”

Coolly sitting in military regalia of the film’s era, Jackson gave us insight about how his character functions to illustrate the timelessness of civilization’s pursuit of power in the story. “We live in a world that we control a little too much” he elaborated. “ When we get rid of one thing it allows another thing to proliferate. We put things out of balance. Hopefully this will speak to that and people will understand how we do that and what the consequences of us doing those things are.”

Unconsciously prescient, as we visited this set over a year ago, director Jordan Vogt-Roberts pointed out how his film speaks to a time where the country pushed against forces bigger than it. “We were losing wars for the first time, we were in sexual revolutions, and racial riots, and political scandals and things were crumbling and then presenting people with an island that’s untouched by man,” he explained.

To Jordan the film’s conflict is represented by man finding an island that seemed ripe for the imperialistic agenda of the time but would prove to be not as easily overpowered because its nature is, “Something pure in a very impure time” that the characters find. To him, it’s a way in for the audience that gives both the people in a theater and the on-screen ensemble, “…a sense of catharsis with this island. ‘Oh my gosh what a wonderful place this is!’“, he exclaimed. “One of the most incredible accomplishments that we don’t talk about as people is that we don’t get eaten by things anymore. We used to get eaten all the time and now we don’t. Swim out in that ocean and you’ll get back in the food chain, but while they go to this island and they’re presented with this beautiful catharsis – very quickly they’re back in the food chain and that ties back into what happens when you see a god. What happens when you’re back in the food chain how does that make you react? And then realizing that, ‘We should have never come here.’”

The World Building of Skull Island

Not yet having seen much of the set, the scope was still a little bit just in the words being pitched to us, a group of slightly-jaded film nerds who have had to put up with CG landscapes that promised immersion but haven’t been able to meet the level of films we grew up on – films like Jurassic Park where we knew the characters were actually there.

Sure enough, that changed when we visited the Boneyard set, which was testament to the dedication behind the film. Utilizing the rugged terrain, a heap of giant gorilla bones lay littered across a huge field. There were giant rib pieces sticking out of the dirt, leg bones you could walk around of an incredible 80-foot beast and majestic skull nestled nearby that you could stand right in front of.

Okay, now we were in the world, now we were in Skull Island.

Because he’s awesome and decided to hop in our van to set, Tom Hiddleston shared on the ride over that he had the reaction we were about to have and he was right. He described the moment as he hung over the passenger seat enthusiastically, “There was a day about two weeks ago when the entire troop of about 15 of us were trekking across over these ridges and we stop at the top of the ridge and look down into a boneyard. I was at the front of the line and we all stopped and fanned out and I was next to Brie Larson, Thomas Mann, John Goodman, John C. Reilly, Samuel L. Jackson, Jason Mitchell, Corey Hawkins,Tian Jing, John Ortiz, Eugene Cordero, Shea Whigham – it was like this is a gang!” he praised, “I’ve made big movies like this on sound stages surrounded by a green screen where you supply everything with your own imagination and the other day we were in that crater in the valley of the volcano and there’s beautiful mountains on every side. Blue sky and nothing left to imagine – you’re just there. Sam and I were saying if you can’t get excited for this, you can’t get excited by anything! This is as good as it gets in terms of big movie making.”

When you’re used to the small-screen version, being planted in the actual landscape was bonkers. Just to give you an idea of my size walking among the artistry, I was as small as Simba in the Elephant Boneyard scene from The Lion King and laughing-in-the-face-of-danger small. Vogt-Roberts wasn’t kidding back on the beach earlier. “We’re framing for a giant ape and also having humans in the frame. I just want to have a lot of imagery in this that’s the same and also feels unique to our movie with the action and with the composition. We want to make a lot of stuff that really could only exist within the confines of the movie we’re making. This is our Skull Island, this is our Kong, and you couldn’t find these sequences or this imagery in another film.”

Hiddleston supported the sentiment. “When Jordan and I met we talked about aspiring to make something that was like the best adventure stories, ’cause he and I are the same age, we talked about Raiders and we talked about Jurassic Park and those films take you to a place, put you into a context, and give you a great time. You just follow the story,” he described as we drove into the familiar wild of Isla Nublar and further away from civilization. The legacy of which, Hiddleston bears in mind as they prepared to unleash Kong into the world. “I think of that first Jurassic Park and it really is about man coming face to face with what he doesn’t understand. All that stuff that Jeff Goldblum says you know it’s a simple idea, but it’s a big idea. We can only hope to make a film as good as that and we’re trying,” he said.

Samuel L. Jackson, who happened to be in the first Jurassic Park, did share an interesting tidbit of info about the Spielberg shoot while we hung out in Hawaii with him. “I never got here,” he laughed, “never got to come here, because the set that I was supposed to work on got destroyed in the hurricane that season. Hence my arm hanging in some anonymous place.”

And he’s finally here for Kong, no less! But yeah – whether it’s Sam Jackson versus Dinos or versus Shark or snakes on a plane, the cult hero actor chalks up his resume of taking on the animal world to a love of adventure stories. “I’ve always liked King Kong movies. I like big things that roar and scare people. Running from things and shooting back at them,” he explained.

As Jackson prepares to be the character aiming to go toe-to-toe with Kong, Jordan Vogt-Roberts imagines the visuals of the war between them as one of bad-ass motherf*cker proportions. He revealed, “When you look at King Kong, that original movie there’s frames you could pause. Almost every one of those scenes – there’s a frame that you remember, there’s a frame you could blow up, and there’s a frame you could put on your wall. As we’re framing for a giant ape and also having humans in the frame. I just remember like when I was in college whatever the frames were from Pulp Fiction – those single images you would have as your desktop background, or that you would print out in middle school to put in your trapper keeper binder and be like, “I love that image!” he said of bringing two cinematic icons together.

Totally game, Jackson looks forward to bringing that to life, “The fact that we’re on location and not in a studio is totally different. It’s out in the elements. It’s happening and you can actually see that and I think the difference will be very palpable to an audience.”

Back in the press tent with Larson, the future Captain Marvel praised the production, “Every time I look in the monitor I’m so excited by, and in awe of, and it’s so much bigger in scope and in scale than anything else that I’ve done. I’m doing things I’ve never done before, like working with CGI and doing things that are very physical. Everything I’ve done before is more visceral and more emotional and more subtle. There’s such a huge group of us and everyone is just like at the top of their game, and I’m learning so many new skills.” After our conversation with her, we saw her work in action when we watched a scene where her character would not stop snapping pictures in awe of Kong, though she should probably run away.

And while yes, Kong is the only star not on set (He’ll be CGI of course), Vogt-Roberts assures that everyone is on the same page to create real reactions to the mighty God of the Island, “Really to me a lot of it is about being able to linger on these characters’ faces, seeing how not just this creature, but this island is affecting them. We truly want Skull Island to feel like a tangible, tactile place and that’s why we’re shooting so much of this practically as we go from Hawaii, to Australia, to Vietnam, it’s to really feel these guys within that space. So it’s a huge help for the actors just to be in real jungles and real settings and things like that. That just adds to that reality when you’re staring up at this completely fictional fake thing.”

And being there on the Hawaii set, I couldn’t agree more, because it does transform and transport you. I totally felt like the kid who’d look at ripples from shaking water cups as a sign that a T-Rex was near. No really, you divert into that mentality when you’re standing deep in the dark jungle legitimately anticipating a great beast whenever the wind would rustle leaves around you.

“We’ve never seen King Kong in that arena,” Hiddleston summed up, “it gives every character somewhere to come from.”

And as I looked down at the Island on my way home, I was filled with great excitement for the movie and to see Kong charging through where I stood. And yes, also with a newfound appreciation for Hawaii as a movie nerd.

#tom hiddleston #kong skull island #kong: skull island #Article #interview