titassite

Tropical Frieze

Group Rhoda return to these pages with the most excellent Minimal Synth Bossa Nova jams.

Trespass does what Group Rhoda does so well and weaves multiple disparate moods together into a beguiling whole.  Her vocals, as always, at once deadpan and almost operatic.  Like locking into a piercing stare while the world explodes into colour in your peripheral vision.  Layered underneath, a haunting minimal synth track; as much South American as Near Eastern.  Swirling, sparse and hypnotic.  And finally a spare drum machine that manages to be super minimal and absolutely banging at the same time.

Group Rhoda – Trespass

Trespass is the first track off Group Rhoda’s album Wilderless.  You can get it digitally or on vinyl from her Bandcamp, right here.

Finally, we have a bonus video in the form of Brenna Murphy’s work with Visible Cloaks.  The sounds are a mix of Visible Cloaks Reassemblage  and parts of their forthcoming Lex (which we’ll write more about soon).  The visuals are a form of RGB Brutalism with scant regard for ambient occlusion and global illumination.  They’re reminiscent of early digital animation and late 70s video synthesiser work.  But whereas that early work was often defined by rigid, mathematical movement, Murphy’s work foregrounds the human hand as we see abstract pattens painted across the screen in real time.

It’s also trippy as fuck so you should watch it.

Remains of the Wave

Featuring : Katy & Nick

Today we bring you new music from the simply (and accurately) named, Katy & Nick.  Katy being Katy Cotterell of Gloss Rejection and Nick Carlisle of Bamboo.

They only have two songs on the internet and both trade in haunting synth wave.  This, though, is a very British synth wave.  A punk-y, abrasive synth wave, not the icy distance of some of the finest continental practitioners.  This is the ennui of a damp bedsit in a bad Victorian conversion, not the existentialism of a brutalist estate.

That Man is Back is the banger.  It’s something you expect to find on a dusty Rough Trade 7″ — where you subsequently find out it actually sold 50,000 copies and didn’t even make the top 40, because the 80s.  That sort of thing.

There’s a little bit of YMO to the hyper-simple melody that loops throughout the whole thing.  An appropriately simple counterpoint the arpeggiated synth line that threads its way through Italo and Hi NRG.  But above all that surges Correrell’s voice: echoing, forceful.  Seemingly at times to do her own internal call and response.  Almost screaming; shaky at times in the controlled way that punk nails.

Katy & Nick – That Man Is Back

That Man is Back is taken from the two track release What I Did For You.  You can get it from Bandcamp right here.

Nigerian Funk Great

Featuring : Steve Monite

Steve Monite’s 1984 absolute-fucking-banger, Only You, is our subject today.  Bringing together loads of things 20JFG loves about the 80s: dubby baselines; weird, verging on avant garde synth sounds; proto-rap spoken word sections; and Disco.  God, Disco.  Disco not in the rigid genre sense but in the David Mancuso, eclecticism is the only way to party sense.

And that bass.  And those gated drums.  Fuck.

When the robots rise or when some Russian AI finally perfects just the right combination of fake news to trigger mass heart failure in the worlds social media populations…we’ll have Steve.  As the world goes up in flames he’ll be there, telling us only we can put out this fire*.   As we battle the bots’ encroachment on our collective subconscious we’ll have Only You as the checksum.  If you hear it and don’t immediately stick it on repeat you’ll be first up against the digital wall.  Or get muted.  Whatever.

Steve Monite – Only You

Only You (the album) was reissued by PMG in Austria.  You can grab it off Discogs right here.  Only You (the song) was remixed by Frankie Francis and released on a 12″ by Soundways.  You can grab that off Discogs too (as it’s sold out).  Frank Ocean covered it earlier this year so let’s hope we get an official release of that too.  But ultimately, when it comes to our preferred version, there’s only you Steve.

*technically only Steve can put out the fire but given the constant perspective shifting in the song I’m claiming we’re all Steve.

Teh End of History

Pop historian-philosopher Yuval Noah Harari fascinates and horrifies us in equal measure with his long-view description of human evolution (see Sapiens (2014) and Homo Deus (2016). It goes a little bit like this:

In the dark ages, humans believed in superstitious fictions that gave their life meaning. They existed in close connection with nature, but also at its mercy.

With the Enlightenment, humans gained control over nature through science, and turned themselves into the measure of all things, but this made their lives feel empty and meaningless. The religions of authoritarianism tried to fill that void with awful results.

New scientific and technological advances are now calling into question the basic assumptions of the enlightenment: behavioural economics and evolutionary psychology show that human being are not rational, their beliefs and actions are conditioned genetically and culturally. Machines are becoming smarter than humans, able to predict and manipulate their behaviours in increasingly sophisticated ways. All these developments point at an impending transition to a new stage in history.

Can democracy and markets survive this change, or will they be replaced by collective intelligences and platforms that aggregate and automate decisions in complex ways?

Can humanity survive the battle between the forces of reaction and acceleration?

Will we find meaning again in new religions of fandom and singularitarianism?

Noah Harari tells all this with a dispassionate voice, avoiding linear narratives of progress or decay. With each phase transition in human evolution something is lost and something is gained. A mystery always lingers, we listen to its music.

The dark ages were full of mystery and emotion, they contained a sense of permanence, and order, with human existence tightly embedded in the cycles of the celestial and terrestrial spheres. Free will in believing and sinning opened the way to moral behaviour and heroism, but this was part of a bigger story told written by the Deux Ex Machina.

Delia Gonzalez’ latest album, Horse Follows Darkness brims with that sense of thrust through layers of gnostic mystery and invisible force fields, into a space of revelation hidden at the heart of the dark forest. Hidden Song is the theme track for the werewolf gang that runs things that neighbourhood.

Delia Gonzalez – Hidden Song

Go get Horse Follows Darkness from DFA records.

We are the children of the enlightenment. Our most successful societies protect and nurture us, encourage us to express ourselves and our creativities in a myriad ways. Those of us endowed with genius can make their selves (even souls) seen, heard and felt that way, and when this happens, all witnesses are seared by a flash of joy. We might be alone in the universe, but we can gift each other universes.

Modern composition has many moments of such humanistic beauty, here is one from Philip Glass’ North Star.

Philip Glass – Lady Day

Some information in discogs.

Many of our favourite musics are produced through collaborations between humans and complex technological artifacts (electronic music) or seek to induce trance-like states where humans start behaving as if they were components of technological systems (dance music), or had been bodily spliced with technology (EBM/post-punk).

Caterina Barbieri’s take on our technological structuration is more abstract. Her electronic compositions give us nerd-rapture inducing vistas of cybernetic worlds where human and machine intelligences have already merged; we listen to their message with a mix of alienness and familiarity, as if told in the tongues of the natives of those strange new lands, distant descendants of the mild cyborgs who today inhabit online gaming clans, collaborative consumption platforms, and the deepest code architectures in GitHub’s sprawling cathedrals.

Caterina Barbieri – Information Needed to Create an Entire Body

Acquire Patterns of Consciousness from Important Records.

Dispatches from the Industrial-goth Resistance

Featuring : Pharaohs

International Feel continues to bring us the island jams.  Your particular physical or metaphorical island is entirely your choice of course.  But regardless of the location you place them, these musical capsules manage to contain entire ecosystems within their digital boundaries.  We have the Balearic jams of label boss Mark Barrott, so utterly drenched in a sense of place.  And today we have Pharoahs with a record partly inspired by a Hawaiian surf memoir but reaching into so many touchstones of 80s world music it’s dizzying.

Pharoahs –  Oelan Gunda

We begin with looping synth rhythms which are quickly supplements with what sounds like wood blocks.  Which could be the kicking off point for some deep house or an extended abstract jam.  Instead we kinda get both.  The Knife pulled a similar trick all over Silent Shout but their destination was darker and more towards the banging side of house. Here we’re more afrobeat and chill.

And that’s because we gravitate away from the synths and towards West African vibes.  Beautiful guitar loops over some call and response vocals that float atop strung out bass.  It’s a release from a more synthetic beginning that wasn’t exactly Industrial-goth to begin with.  Yet one of the song’s achievements is that this all still sounds so blissful in comparison.

Oelan Gunda is taken from Pharoahs’ mini-album, In Oeland.  Which is out on International Feel today.  You can get it right here (and at other good record shops).

“What year is it?”

Featuring : Byron Westbrook

We’ve lost count of what year of the synth revival we’re now on.  Which is appropriate.  It was timeless music then and it’s timeless music now.  Which for something indelibly linked with technology is a somewhat ironic.  It’s not like it didn’t leave traces on pop-consciouness.  From The Who jacking Terry Riley to basically all of Synth-pop, abstract electronic music has had plenty of opportunities to anchor itself to a period and be dragged down to the depths with it.

But wherever it resides, it’s certainly not the depths.

Perhaps this is so eternal because it removes the mushy, ageing component of human interaction.  We’re left instead with something so perfectly modern, a human expression divorced from some authenticating physical effort.

Byron Westbrook’s Dance in Free Fall is exhilarating, honestly titled and utterly, utterly human.  It manages to pull off the wonderful feeling of moving at different speeds, tempos overlapping and occasionally meshing; a sense of vertiginous speed and geological time.

Byron Westbrook – Dance in Free Fall

It begins with what initially sounds like a surf guitar solo via dial-up modem.  It’s an exuberant, joyful expression, a headlong rush into a world of infinite points of light.  Next comes the bass: stately; an expression of scale; a world for the light to inhabit.  Together they manage to create something at both chaotic and utterly precise, that contradiction phasing in and out over the length of the song.  Ultimately, crafting the most accurately named song I can think of.  Indeed I’m questioning whether to delete this post and just post the title 72 times.

You can get this on the album Body Consonance which is out on October 13th.  You can pre-order it from Hands in the Dark, right here.

Angelic Mush pop

You’ll Never Get To Heaven’s Images is a soft shell we pick from the ground of the terminal beach, we suspect it was forged in the primeval chaos of some shoegaze storm but aeons of time and erosion have smoothed over all its textures, leaving us something that is lightness incarnate. Inside its spiral of sound we hear holographic echoes of our own romantic pasts, like a gentle, C-86 Solaris.

Formally, it is perfect, which would be good enough. But what takes it to the next level is its lack of retromania, self-aware 1980s goopy cheese or backward-looking escapism. It is nostalgic alright, but not for previous cultural episodes. It longs for days that only survive in faded away photos and the memories of those who were there. It would have been equally at home in Ariel Pink’s ectoplasmic radio-station, in an early September 20JFG reverie, or in the informational overload of some Bladerunner agora.

This makes it timeless, and it makes us happy.

You’ll Never Get to Heaven – Images

Get it on digital format from their bandcamp and in vinyl from Yellow K Records.