At Tiny Mix Tapes, we provide both up-to-date and dated news, reviews, interviews, and articles on different genres in the vast music world, including independent releases, major label releases, and even self-releases.
Composed “entirely of found sounds,” the forthcoming Mirrors consists of eight brand new instrumental grooves and warped sound collages “sourced from rare and private press vinyl.” In order to shake things up this time around, the 20-year veteran and Anticon co-founder reportedly designed the album “specifically for vinyl,” with the record’s A and B sides intended to unfold on your turntable like “a pair of cohesive psychedelic dreams.” Sounds like you might want to stay away from high-cognition tasks like operating heavy machinery or obsessively folding all your stuff.
And provided you’re not also currently SO INTO the concept of tidying up that you’re afraid to bring any new physical possessions into your home, you can pre-order the album here and drop an imaginary needle on the album’s dusty and crumb-laden first single “Cookies” down below:
This isn’t something I feel I should be apologizing for.
I was just talking to my friend about the new Jah Division album, and I asked him, are they as dumb as they sound, or are they worth the listen?
His answer: yes and yes.
That’s my answer for Cat Temper. There will be no apology forthcoming.
Let’s get this boring stuff out of the way. Cat Temper is Mike Langlie from Boston. He has played in a “toytronica” project called Twink the Toy Piano Band. He also performs as part of Off-Ox, an instrument post rock band. (I dig that band name, for some reason.)
Ta-daa! You’re not here for that. You’re here because you’re wondering what the hell a thing like Cat Temper sounds like, and I’m going to tell you, and you’re going to listen to me and then to it. Because I get it — I see you there, and you’re like, “I dunno, Purring for Vengeance? Sounds weird.” Oh, yeah, it’s weird. But it’s the best possible weird, because it’s sheer synth-prog maximalism, doled out by an artist whose Bandcamp avatar is a keytar-wielding human with a cat head wearing a t-shirt in the AC/DC font that says ME/OW. The title is a nod to Judas Priest’s Screaming for Vengeance. What more do you really need at this point?
How about a stream of this thing? Do it. Right there. You can get mostly pink tricolor vinyl version of Purring, sure, but preview this, please. Also, if you’re a real head, you can grip the muh-fuggin MINIDISC version of Purring — I know there are AT LEAST six of you out there with a minidisc player. That’s how many are left, out of a run of ten.
I’m an absolute sucker for this throwback 1970s/1980s synthwave stuff, and if it’s good enough to play as an alternate soundtrack for all the exciting bits of Tron that are in my head, so much the better. Purring goes beyond Tron, taking its bizarre conceit to unselfconscious next levels of accessible grandiosity. I want to listen to it forever. Or at least till it ends. Or till I get bored. (Ha! Fat chance.)
Cities. New cities. Cities that aren’t even on this earth yet. The kind that Lee Gamble, on In a Paraventral Scale, gives a language to. Cities like shrines shining, where stars spill their milk-light on the silken earth, the air cracking open like an egg. Cities where the cyborg-sublime meets avant-garde sound design, where brujería mixes with psychedelia. Where poets twitch language into glitches, splattering syntax in a fight against their techno-financial bondage. Where apartment building after apartment building builds into a 4/4 rhythm, one after the other after the other. Where there is hurt of wanting the financially — and metaphysically — impossible.
To be the poem-glitch that combats the wage-slavery: there’s the rub. To be above, at the top of a skyscraper, in a blanket of mist, in the secret of your own being. Then to be inside a sound — a sound like the perception of the Other’s body as an extension of one’s own. A sound like metamorphosis gathering amidst dazzling emptiness. A sound like wind wrinkling street puddles. A sound like a robot’s human-shaped buttocks sitting in a metal chair. A sound like pigeon poo landing on pavement. A sound like money being printed on a large machine.
Lee Gamble, Many Gods Many Angels - YouTube
Gamble’s making sounds like all of that, with Autechre spasms and Resident Evil soundtrack dread combined into one. The melodies don’t propel; they put buffers and stopgaps between other moments of intense sound design. Like a luxury car at a car show, they exude and ooze sleekness and velocity. But hidden within that is a terror: the terror of being surveilled, minute by minute, devoid of ontological access to the eternal or the metaphysical. The terror of automation taking over your life. The terror of money scraping your insides out. Of your inner emptiness pushing you over the edge.
Yet inward toward this vortex we go, into our virtual coil. Inward toward a city within a dream. Toward a roar of plane engines in our face, strong winds slapping our hair around. Toward some crude, sullen murk we call a living space, an architecture. Toward the headquarters of this necro-enterprise. Toward warfare, without the war.
Ahhh young love; you have found the source of which beautiful songs are created from.
01. The Beatles - “Something”
02. Dinosaur Jr. - “Just Like Heaven”
03. Leonardo Cohen - “Suzanne”
04. The Velvet Underground - “I’ll Be Your Mirror”
05. Big Star - “I’m in Love with a Girl”
06. Richard Hell & The Voidoids - “All the Way”
07. The Modern Lovers - “Girlfriend”
08. Beachwood Sparks - “By Your Side”
09. The Velvet Underground - “Pale Blue Eyes”
moon mask’s visceral lyricism might not generate the most marketable candy heart slogans, but it sure does hit home when paired with hazy new-wave instrumentation.
The Manila, Philippines-based dream-pop quartet — Consisting of lead-singer/producer Zeon Gomez, guitarist Felipe, bassist Dean Dela Cruz, and drummer Julio Del Prado — has officially mailed out its sophomore EP, relapse, today via ZOOM LENS. The 5-track release is a Valentine’s card addressed to the perpetually heartbroken. Synth leads and reverb-drenched guitar chords twinkle with romanticism, only obscured by a pervasive sense of despair.
“relapse is about revisiting old pains — the ones I never really got to talk about for my older material” says Gomez.
These pains include feelings of inadequacy, spoiled prom dates, and overcoming angst through long, aimless drives — a stark contrast to uptempo beats and major scale progressions. relapse is a light at the end the tunnel; a kiss-off printed on a black candy heart.
Purchase relapsehere, and stream the EP (which has garnered pre-release buzz from CNN and Spotify’s “Weekend Hangout” playlist) below while polishing off the last few chocolates in your sampler box. Raspberry filling never tasted so bittersweet.
The first minute and a half of this track offers a spectacularly frenzied attack, from the Denver-based black/death outfit. Endlessly entrancing riffs weave in and out, akin to a trip down a fractal, while the drums are like a city under siege. A barrage of snare hits spray from what seems an M1 Carbine, while explosions of cymbals and repeated tom rolls, induce shell-shock. Amidst this chaos, shrieks prompt terror and death-growls bring cold comfort.
The turmoil of the first third of the song, gives way to more sprawling guitar work, calling to mind the heyday of late 90s noise and math rock, yet thicker, heavier. Dulcet guitar tone and low-key percussion establish a tranquil, yet still, foreboding climate. It is a welcome respite for the creation of space, a meditative moment, however brief. As anticipated, Noctambulist reemerges, after reloading, with a more straight-forward offensive. The crescendo and climax, bolstered by the pump action of blast beats, witnesses the band seamlessly transition back into the insanity of the song’s initial sequence. Yet an abrupt halt to all percussion leaves behind an ominous wall of noise and feedback, which closes out the song. A low and sporadic single bass note then thrums, the reverberation of all the carnage that came before: the echoes of decimation.
…on which the NYC-based Budos Band strays from its usual path and delivers an uncharacteristic set of afrofunk-influenced, retro-rock instrumental swagger with a disarming wit and more than a dash of finger poppin’ fun.
Who are we kidding? The Budos have been doing this sort of amazing thing like no one else for years now, and in two months, their latest effort will hit the ears → soul → feet of everyone who comes within a million mile radius of it.
Budos Band V is out April 12 on the prime Daptone Records. To be sure, the record will be a reassuring statement with arresting instrumental compositions and compelling power, just like the rest of the Band’s many past fantastics. The set is its first full length album since 2014’s Burnt Offering, and while you may think you know what to expect with every new Budos Band album, there is always a progression into another world of influence previously untapped by the group.
Budos Band V is available on DL and LP and can be pre-ordered here and here. Listen to the full-throttle chug of “Old Engine Oil” before gearing down into V’s tracklist and upcoming live dates.
Budos Band - Old Engine Oil (Official Audio) - YouTube
Budos Band V tracklisting:
01. Old Engine Oil
02. The Enchanter
03. Spider Web, Pt. 1
04. Peak of Eternal Night
05. Ghost Talk
06. Arcane Rambler
08. Veil of Shadows
09. Rumble from the Void
10. Valley of the Damned
The Budos Band live:
04.05.19 - New York, NY - Bowery Ballroom
04.06.19 - Brooklyn, NY - Music Hall of Williamsburg
04.18.19 - San Francisco CA - The Fillmore
04.19.19 - Portland OR - Roseland Ballroom, Soul’d Out Festival
04.20.19 - Seattle WA - Neumos
06.01.19 - Suffolk, UK - Red Rooster Festival
Riding the train to work at the punishingly early hours of the morning does allow one soothing balm to an otherwise bleak commute: jamming freaky tunes on a mostly empty train car, before the caffeine’s fully hit, watching the late night freaks (clearly not me) and the early birds (very much me) trudge through the pre-dawn haze of the city.
A recent addition to my musical lineup has been the latest from UK duo Seahawks, whose ambient space jazz has graced my earbuds across several equally blazing releases over the last decade. Their new LP, Eyes Of The Moon, dives even further into the deep end of that saucy future cocktail lounge vibe that we’ve come know and love.
The track streaming below, album opener “Emergence,” sets the mood for the rest of Eyes Of The Moon, with shimmering synth notes alongside syrupy spoken word vocals that practically melt away as the track progresses. There are other equally chill yet zonked out effects and sounds throughout, but this one gets things off to a good start, if you feel me?? The record drops March 15, in digital and vinyl editions (pre-order HERE), via Cascine. Warning: do not operate heavy machinery while streaming these tunes ;)
Connoisseurs that they are for greatsoundtracks, the folks at Waxwork Records will be putting out a deluxe vinyl edition of the soundtrack to Spike Lee’s BlacKkKlansman, hitting digital shelves tomorrow (f.k.a. Friday, February 15). What makes this release deluxe? Try a red-and-black smoke-colored vinyl, with a heavyweight printed insert, and “old style tip-on gatefold jackets,” all wrapped up in a design by Aesthetic Apparatus that is very 1970s-inspired.
If you read TMT at all, you should already know about BlacKkKlansman. After all, it was featured on our list of the 25 best films of 2018. If this is your first trip to TMT, you still should already know about Lee’s film. After all, numerous outlets have gone on record marking it as one of the best films of 2018. Outlets like the, oh, I don’t know: The Academy of Motion Picture Arts and Sciences?!?
Yes, BlacKkKlansman is up for six statues at this year’s Oscars, including the top prize of Best Picture, Best Director for Lee, and the reason we are here today, Best Original Score.
The film’s score is the latest collaboration between Lee and jazz trumpeter Terence Blanchard, a partnership that dates back to 1991’s Jungle Fever. Though he is a six-time Grammy award winner — including Best Instrumental Composition for “Blut und Boden (Blood and Soil)” from this very score — this is Blanchard’s first Oscar nomination.
You can have a closer look here, or just head down below to check out the album cover, full tracklisting, and listen to “Blut und Boden (Blood and Soil).”
Blut Und Boden (Blood and Soil) - YouTube
01. Gone With The Wind
02. Hatred At Its Best
03. Main Theme
04. Ron’s Theme
05. Firing Range
06. No Cross Burning Tonight
07. Patrice Library
08. Ron Meets FBI Agent
09. Connie and Bomb
10. Guarding David Duke
11. Tale Of Two Powers 1
12. Tale Of Two Powers 2
13. Tale Of Two Powers 3
14. Woodrow Wilson
15. Klan Cavalry
16. Ron’s Search
17. Patrice Followed
18. Here Comes Ron
19. White Power Theme
20. Partner Funk Theme
21. Main Theme - Ron
22. Blut Und Boden (Blood and Soil)
23. Photo Opps