MALINGERER “s/t” C20 (Self-Released)



Luigi Russolo’s intonarumori was invented to best articulate the song of the industrialized city. Malingerer does not evoke urbanity so much as bring new life to the hymns sung by fax machines & copiers, the drone of fluorescent lighting, and the moan of the ever-fickle automatic coffee maker. The space created here is ominous, cavernous, and righteous; outright eerie at times, with great care given to the shifting timbres of dirty synth echoes. I’d like to hear more of this, but I could find hide nor hair from the artist’s minimal j-card layout. All that’s printed, aside from nice textural graphics, is the word “MALINGERER” in typewriter font and “NN” on the back. So mysterious…

- - Jacob An Kittenplan

COIN LOCKER KID
“Hailstorm & Maelstrom”
(Already Dead Tapes)



Doseone. Juiceboxxx. Signior Benedick the Moor. These are the guys who operate within hip hop, but who only really exist there on the surface of the genre. Dig in a little deeper to any segment of their catalogs, and you’ll be surprised at how much really goes on. It’s “hip hop” in shelving category only. After that? All bets are off.

Hailstorm & Maelstrom is Coin Locker Kid’s addition to the conversation, and it’s a stunner. The tape is the story of an artist not willing to be confined to genre, or any preconceived idea, in fact. The inside of the j-card even states, “The story of a boy who disappears into a beautiful woman,” questioning even the boundaries we place on ourselves as physical human beings.  These are big, important ideas, and they’re quite au courant. Start listening to Coin Locker Kid, everybody.

Hints of ragtime (“Ragdoll”), noise (“Boy toy, pts. 1 & 2”), synth pop (“The mannequin”), experimental collagist weirdness (“The absence of soil, air, and law,” all 13 minutes of it!), punk (“Superpredator”), musique concrete (“(screamer)”), blue note (“Still”), and folk (“Begotten”) make appearances, all of them done well. By the time you get to the end of the album, “Memory of a boy (who doesn’t exist)” (where CLK pulls a wild-eyed Signior Benedick jam, and perfectly), I’ve almost forgotten that this started out hip hop.

What a breath of freakin fresh air. This tape’s all over the place. In a good way. Enjoy these kinds of releases that revel in their own madness, because they don’t come around too often. They’re a treat. This is one of those.




--Ryan Masteller



V/A “Tribute to the Residents” C40
(Quantum Wampum)



Sixteen weird-ass noise-rock covers of one weird-ass noise-rock band, put out by a weird-ass noise-rock tape label out of… Connecticut. Is Connecticut weird and noisy? Quantum Wampum have been churning out a fair number of left-field tapes for what looks like coming in two years now I’ll certainly be checking back in with them to see how that Sun City Girls tribute turns out!



- - Jacob An Kittenplan

GAUTE GRANLI
“Ingen Potetsekk Whatsoever”
(Skussmaal)



side A
Wake-up time trills as sparse free drums accompany during an air raid in the Spin Zone. As the centrifuge chair does its job, our ears collect incidents over time, patches from the sermon on the Tom, where Alvin the Chipmunk spoke through the crush of a storm on the void side of the tape. Promoter hands the lead guitarist a canceled check. The guitarist fails to notice and continues to plug away as his greasy dark hair noodles to the floor, sweeping the black paint, attracting dust from 1972. Everything slows down in the gateway to the stars, an eerie warp of a retro time warp. The red side of the paint is given enough lube, just enough not to dry up, to keep it going through the action of deconstruction. Small rubble and trance mount and tumble.

side B
The alarm sets it off again, into the Twilight Zone, where the mumbler has replaced Rod Serling. Chromatic guitar rides the sideways carousel. Turn the camera back to its original place to turn the carousel back to its original place. Beatbox percussion trickles as support system, affected by “Come Together” or maybe “Don’t Come Around Here No More.” Shrill tones like the high diapasons of an Italian score mix with stoned Hollywood-Vietnam guitar and the occasional tom. The tones play nice together, holding hands with their eyes closed, at the cliff, preparing to jump into yet another side of the void. Conductor taps the stand; nothing the conductor does or says will silence the theater-goers’ smart phones. They are buckled in, ready for simulated stimulation + three dimensions. The hard science spits dust and rough edges. The seats rumble once the ghost starts tackling the cajón. There’s a constant sense of alarm: is this real, just a test, or part of the fantasy, the price of admission?

http://www.skussmaal.com/releases/

-- Rick Weaver

HIGH LIGHT
“High Light” C64
(Tamarack Music)



With four parts early Tangerine Dream and one part later Stars of the Lid, this is a beautiful wash of soundscapes for anyone who knows how to relax. Long, deep, warm drones swim along while timbre shifting synth lines follow suit from on high. Nostalgic, arpeggiated chords and those Atari-style laserguns fill out the middle ground, and not a voice is to be heard. I took so many naps listening to this and had crazy cosmic dreams!

and/or


- - Jacob An Kittenplan

DORCAS MORTON
“People I’ve Never Met”
(Physics Engine)



Can you imagine if The Books, both Nick Zammuto and Paul de Jong, recorded an album with Wes Anderson? Me neither! I’ve got some great news, though, in case a pairing like that strikes you the right way. Dorcas Morton, the fake-ass name of Boston’s Brian Paulding, releases music that sounds exactly like that. Paulding uses all kinds of instruments within a home-recorded paradigm, and enlists his pals Clap and Willard on a couple of tracks to help out with spoken-word story-vocals, or, uh, chainsaw. And clarinet.

The tape is awesome, because I love me some Books, so it’s right up my alley to begin with. It’s folky, it’s collage-y, and it features lots of samples of people – presumably the people Dorcas Morton has never met (the title!). Paulding even calls People “a tape for tinkerers,” and there’s no way anyone can argue with that. It sounds like there’s a lot of minute detail he sweated over. Composing these songs must have been a lot of fun. And I’m not even a spoken word/poetry fan in any sense, yet I did enjoy the excursions down those paths. The whole thing just makes me happy a lot, and a grin this big can’t go unnoticed. Here you go, I’m sharing it with you! J)))))))))))

It’s also from 2013, so it’s a straggler – give it some extra love.




--Ryan Masteller

RADIOSON
“радиосон”
(Helen Scarsdale Agency)



The curse of the ambitious in the land of opportunity is one that my ex suffered with constantly, whereas I, from the stagnant, rusted bible-belt of the mid-west, felt perfectly blissed to simply have the option of going out on any given night, holidays included, to see a show at a bar or some art opening or film screening or other. Alas, she wanted so much to see them all, and became overwhelmed by the nebulously expanding annals of the metropolitan arts that laid out in print before her on the kitchen table.

Holy shit would she have hated this tape and all it stands for; the fraying quilt of time & all of history waving erratically in the solar winds; every conspiracy theory at every amazing dinner-turned-dance party with the perfect hors d’oeuvres arranged everjustso; every sleepless night beside a lesser and lesser loved snorer possibly about to die from sleep apnea; sighing traffic jams, late night thumping bass cab rides, tsunamis and surfers riding the perfect one and airports birthing, killing, and ridding cities of people they’ll forget in a few months. This document is an in the face reminder that you cannot be/see everything, but, maybe, maybe you might witness multiple folx’ accounts of life on this batshit planet, inter-spliced, in reel time; and maybe, if trained, you could extrapolate from there.

Thank you, Helen Scarsdale Agency, for continuing to make the simple act of sleeping a negotiable function.

See: Drone, noise, astral-projection, Cyrillic liner notes, zero percussiveness, reality is collage, responsible split personality disorder, aliens, alienations, forgetting you were ever lost for about an hour or so,



- - Jacob An Kittenplan