With the reissue of the most excellent “Betrayed in the Octagon” LP on No Fun, Oneohtrix Point Never are finally getting more recognition. The LP is a wondrous clash of sinuous organic totems and sheer metal floating mosaic patterns, a battle watched by the 2001 homo-sapiens as a bone turns into a spacecraft. Its an image glimpsed in a mirror at the end of a generation and with tracks like “Woe is the Transgression I” OPN easily weaves horrific terror into tone-perfect tranquillity. The title track follows a team of explorers entering the ear of a giant crash-landed Mega Man covered in rust and battle scars. “Laser to Laser” pins a star beam to the point directly in the middle of these two styles. Previous readers have left comments expressing a desire to climb into OPN’s tracks, and “Laser to Laser” is a perfect gateway to the warm comfort of a cybernetic womb, cradled in a sea of robotic nerve endings, watching as the plumes of cloudy synths spread across a sulphuric sky and My Bloody Valentine records drape over tree branches like Salvador Dali clock faces.
Oneohtrix Point Never mixtape transmogrifying to 2OJFG soon…
This month, SALEM follows up the soundtrack to ecliptic smoke beings on Merok Records with their happiest song (its still about Ketamine though) on Japan-based label Big Love. “OhK” is backed by “Sweat (l)” a gurgling fear anthem for Team Sertraline. Guaranteed to be one of those mad scrambles to the Rough Trade/Puregroove digital record shops; 300 copies fast diminishing to zero.
“OhK” is one of the achingly tarnished silver and reversed wicker-cross torch songs that Heather sings over, a surprisingly upbeat shuffling 4/4 thud, lit by the frozen morning sun as lost souls stumble from the underground into life again, only to be punctured by tendrils of serrated keyboards, deafened by shrill death rattles from a Roland MC-505 graveyard.
∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆
For yet more of SALEM’s fever dreams head to SO BONES, the newly established blog from Robin and Steve, featuring odes to the translucent androidical beauty of Cassie and Ciara, the chrome and crystal knuckleduster chic of Usher’s most mental (and therefore unreleased) ice ballads, Lil Wayne’s feral malfunctioning robot vocals oozing over filth-rhymes, The Underdogs Italo-baiting neon-monolithic productions, and so much more….
(no Akon or Flo-Rida and no ill-advised collaborations with Enrique Iglesias, promise)