The Asynchronicity Won’t Be Televised

Featuring : El Mahdy Jr. + El Remolón

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(Image by Carlos Mérida via 50Watts.)

The 20jazzfunkgreats leviathan rides the shockwaves of the aftermath of the Nemesis-like impact of the Web, and the advent of a Cambrian explosion of new, weird and garish kultur-planktons. It tries to avoid reacting to this data-glut with impatience or nostalgia. No, the outlook of this beast is futuristic. It grew up in times of scarcity, and it knows how easy it is to romanticize the hunt, when everything had a sense of exclusivity and uniqueness.

[Or is it simply that the beast was young then?]

Surely things have changed, and not always in comfortable ways: the business of the future is being dangerous.  Yet information overload is a first world problem, and one that cannot be dealt with Cartesian short-sightedness, but rather, with the zest of the stochast, hurling oneself in unexpected directions, to be surprised, and overjoyed, and delighted, and moved, by the expressive power of a mankind that was never so connected.

To be moved by things like these.

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The soundtrack for a Super Mario Bros game where the hero traverses the magico-mathematical regularities of an Aztec architecture with aplomb, the sense of detached lightness and otherworldliness of Miyamoto’s opus replaced with the weight of a millennial culture, embodied in the bouncy momentum of this Cumbian sprite.

El Remolón – El Preferido

We just realize that we only featured Argentinian riddim seer El Remolón last week.  Well, let us point our fingers at the title of this post and revel in the irony. We discovered it in Club Fonograma’s ‘Papasquiaro’ compilation of modern Latin American pop music. El Preferido is also included in El Remolón’s ‘Selva’. Go get.

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The multidimensional rattle with which life converges on an oasis, and celebrates its victory over the soft death of the desert, bonfires in the night create shadows, doors in the buildings create portals, into secret halls where the people roll like so many waves, in the hazy spaces between religious ecstasy and ecstatic party.

El Mahdy Jr. – Lost Bridge

El Mahdy Jr. is an Algerian producer based in Istambul. Lost Bridge is included in Gasba Grime, which you can get from Danse Noire.

We Are His Willing Disciples

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(art is Misconceptions Of The Courageous Mind by Anai Georg.)

In the forest there is bass. The hues of the foliage fade in perfect sighs with the lull and throb. Purple. Red. Orange. Purple again.

In the trees there is THE WIZARD. His mind glittering all evil.

Hack at the grass. Stalk your own psyche. We’ve been strung out for so long in here that we’ve forgotten what we came in for. But aren’t these military uniforms beautiful?

El Remolon – Vestido (feat. Lido Pimienta)

This could be Argentina or Ganymede. Only the one they call El Remolón knows for sure. He pushes the buttons on his keytar and the scenaries change.

He entrances his prey with heat haze-thick digital cumbia. His eyes are spinning zoetropes. We are his willing disciples.

He pedals the ferocious drug “Selva.” No, not salvia. SELVA. You must partake of the ritual dose and kneel before the shrine of Caetano Veloso for approximately 489 revolutions of Alfomega before you may enter the temple.

Caetano Veloso – Alfomega

Buy Selva from ZZK

Psyche of Parasites

Featuring : Rachel's + Toby Driver

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(art is Folly by Meghan Howland.)

We don’t do much dancing nowadays, outside of popping fistfuls of Mimezine and waltzing through Hard Light with Terra, our 90s cyberspace G(uy)I(n)R(eal)L(ife)friend.

And dancing as art… nope, sorry. We don’t know about that one.

But we want to, because this has to be one of the most interesting Kickstarter hivemind projects we’ve come across.

A butoh dance piece by Michelle Morinaga with music composed by Kayo Dot’s Toby Driver, Ichneumonidae apparentlyexplores the astounding psyche of parasites, touching on dualities of survival and self-destruction, the perilous tensions of coexistence, and the subtle horrors of the colonized body.”

Which is appropriate, because if there’s anything XXJFG is about, then it is exploring the astounding psyche of parasites, touching on dualities of survival and self-destruction, the perilous tensions of coexistence, and the subtle horrors of the colonized body.

Toby Driver – excerpt from Pale Hesychasm

You can view some of the performance here.

It’s fierce, beautiful stuff. Violin comes courtesy of Secret Chiefs 3’s Timba Harris.

The entire soundtrack is on Toby’s Bandcamp. Once you’ve gone and bought it you should also rediscover Rachel’s, from the early 00s:

Rachel’s – Moscow is in the Telephone

Because we like reminding you about things!

Buy Ichneumonidae from Bandcamp

 

Informational Pagan Party

Featuring : 3rd Face, ooioo + prins thomas

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You don’t step into OOIOO’s Gamel.

It engulfs you.

Like a swarm of psychic teens warping into the lounge or bedroom or public transport system or whatever geographical coordinates your physical body occupies, flipping the perceptual lights on and off at stroboscopic speeds and generating an REM effect or accelerating drone full of flashbacks like Eli Vance’s botched attempt to teleport Gordon Freeman for Black Mesa East, but faster, ravier, weirder.

And what is the substance of these flashbacks?

It’s varied, and includes: cosmic harmony and the explosion of life. This is conveyed by the seamless integration of gamelan’s evolutionary melody-sequences, standing for the clockwork logic of the cosmos, majestic like Zeus’ brow whence jumps Life, Athena-like, fully formed and armed, fierce and ready for a post-punk brawl. Or remember the awe-inspiring sequences of the universe in transition in Terrence Malick’s The Tree of Life, and shift them from the temple to the dance-floor.

Which brings us to spirituality. There are no words that we could use to convey the joyous sense of peace, unity and harmony conveyed by the transcendental dynamics that unfurl in OOIOO’s music, or rather, there are but they have been hijacked by a zillion new age cults, to use them would be to taint the purity of the emotions surfing over OOIOO’s progressive information age animism. Not that we need to, here’s the music.

OOIOO – Atatawa

Gamel is coming out on the 1st of July. Pre-order it from Thrill Jockey.

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Somewhat serendipitously, we stumble upon last years reissue + remixes of 3rd Face’s Canto Della Liberta, a song that we featured in 2004. The sonic (and sensorial, sensual and emotional) parallelisms between that track and OOIOO are obvious, which makes sense given how strongly they are both influenced by the ur-banger Secondo Coro Della Lavandaie, from Roberto de Simone’s play, La Gatta Cenerentorola.

(This is clearest in OOIOO’s Uma and Umo in their previous album, Taiga, and Gamel Uma Umo in Gamel, which does what it says in the tin)

Prins Thomas’ is our favourite remix of the lot (which you might have expected). He bumps up the drums into a disorientating vortex somewhere in between Liquid Liquid, The Boredoms and Kelis’ Milkshake, and organises the drop around some 1970s double-denim rock riffage, burly Godzilla to OOIOO’s aerodynamic M.U.T.O.  There’s no-way anyone could ever go wrong with that, kids, we swoon.

3rd Face – Canto Della Liberta (Prins Thomas Remix)

The vinyl for this is sadly sold out, but you can get it digital from Beatport.

Big with VALIS

Featuring : Craig Leon

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Craig Leon was and is a record producer, composer, classically trained musician and all round talented guy.  He co-produced this:

Well the one on the record anyway.  He also worked with these guys.

In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?

RVNG really do do the best press releases.  I’m not going to even pretend to rewrite that.

So, Leon goes and records two albums using a load of new synth equipment he was dying to try out.  And what we got first was Nommos.  A reissue was floating around on Superior Viaduct last year but there seems to be a fair amount of confusion over whether the original masters were/weren’t lost, what’s an official reissue and all that stuff 20JFG doesn’t generally deal with.  What I do know is that below we have a re-created track from the original studio notes.

Thus:

Craig Leon – Nommo

Nommo ends the A-side on the album.  It’s an almost impossibly beautiful dance of synth loops, drones and percussion.  It’s an image of ancient, life supporting plains, rendered in electricity and chrome.  It’s an oddly Industrial sort of Primitivism; harsh percussion made comforting by its low key surroundings; the press of keys, painting in ancient skies.

Through space and time the Nommos seem to have visited Leon’s contemporaries.  So we hear This Heat’s Loops, the synth-poppier side of Severed Heads and even a bit of Codek.

This is taken from RVNG’s re-release of Craig Leon’s Nommos and Visiting LPs, packaged together as Anthology of Interplanetary Folk Music Vol 1. (which will hopefully be the name of a blog in 10 years). Anyway, it’s out on June 24th and you should really, really pre-order it because it’s magnificent. Get it from the source, right here.

 

Wall of sound of the worlds

Featuring : 555 + Telequanta

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(Image part of 50watt’s latest Space Teriyaki)

According to their cosmology, when the Creator (Toem) went to war against Entropy (Uhcf), she sweated profusely, and each of the pearls of her sweat dropped through nothingness.

Eventually, Toem vanquished Uhcf to the end of the road of each thing, and, before passing, instituted the rules for the operation and development of every thing and their collective system henceforth.

Each of the pearls of Toem’s sweat became the seed of a world, which flourished or froze or waited or wilted, and its skies, its mountains, its storms and its shadows sang a history going back to Toem’s battle with Uhcf.

The mission of the Clan of the Critics (El-Madi) is to travel the galaxies listening closely, finding for each of the worlds its song, so that the full history of Toem’s sacrifice might be learned by all.

Nine-Gates

The song of world 555 is made of the clicks, claps and pops of the phosphorescent exoskeleton of an arthropod species as it toils diligently under the permanent aurora, building graceful hive-palaces or glyphs representing the words of the lyrics of 555’s song.

Songs also made of the rumble of these hive-bergs as they slide through the world’s dense oceans, and of the cawing of the pelican-like birds whose migratory patterns that their tectonic odyssey dictates.

The El Madi have filed 555’s song under the genres: “Wholeness Juke”, “Innis mode complexity trip”, G-fractal surfing”. 

555 – Som Hassel

Lovejoy Comet is included in 555’s Nine Gates Tape recently released by Moon Glyph.\

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The Hidden Characters in Telequanta’s Metaverse aren’t so much the song that a planet sings, but the vibration emanating from a neon singularity that has absorbed the essential feeling of a zillion jams generated in tropical waterfronts all across the universe.

The simmer of possibility where the sea and the sky meet, the criminal flair of all harbours, the grace of the gradient, the hedonistic freedom of the tourist trap, all of these emotions shimmy in the user-friendly electro-beat, the blurry vocals and those drops blinding like paparazzi flashes, as the existential hero exits the fashion party, jumps in his sports car and, full of self-conscious emotion, accelerates towards that place where all the lines converge.

The El Madi have filed this under a genre best described by the hologram of a silhouette strutting with sexual confidence, a cheesy hint of fragility, something else, perhaps regret?

Telequanta – Hidden Characters

You can get Telequanta’s Metaverse from Datagarden.