Watch: Soul Ipsum - “Innovative Storage Solutions”

Home-boiii, Soul Ipsum – a current TMT favorite – just popped off a new video for the fresh deep and fading track, “Innovative Storage Solutions.” From what I gather, the dude had it done by the DIY▲PYЯΛMID project collaborator and girl friend, Michelle McKay, and the track was mastered by Shannon Phone. Apparently, these visuals are all the secrets to the Soul Ipsum’s hard drive, and I’m tuned in!

Look out for more from the fellah in the future, but in the mean time, grip on the Zirconia Reign by Soul Ipsum and Magic Fades from 1080p Collection, as there’s a rerelease on the horizon!

Chris Watson plans field-recordings-based mobile app for September release

The music app game is getting a little crowded these days. Everybody and their brother is like, “Hey instead of making an album let’s just make an app and move to San Francisco and fly around in internet planes and buy Uber drivers with Google dollars and so on and so forth,” you know? I mean, to be fair, apps are pretty cool. And so, Chris Watson, the eminent field-recordist (and founding member of Cabaret Voltaire), and dude who was at the top of my list for people who I predicted would be next to dive into this exciting (not to mention disruptive) field, has decided to take a little slice of that “apps are cool” pie for himself with a new one of his own called Nimbus.

According to The Wire, the app was built by The Nimbus Group, and it’s planned for release in conjunction with the Brighton Digital Festival on September 10. In addition to including 14 pieces that Watson has recorded throughout his career with Touch Music (such as last year’s lovely In St. Cuthbert’s Time), the app also contains four audio-based games. One requires the player to use directional audio from within the app to navigate to a specific location, another uses the “north-south auditory axis,” the third is simply described as a “collection of sounds for insomniacs,” and the fourth apparently only unlocks if the user is somehow traveling at least as fast as a diving peregrine falcon (which is 300 km per hr or about 190 miles per hour). Unconfirmed sources from within the app developer community have told me that the game can also be unlocked by inviting your friends to play Candy Crush at a rate roughly equivalent to the speed of a sprinting cheetah (about 75 miles per hour). The app will be available for iOS and Android.

• Chris Watson:
• The Nimbus Group:

♫ Listen: Golden Living Room - “Come Home”

Nobody is more ready for the eccojam fade-out more than Golden Living Room. Pretty much surrounded in the decay of everything swan-song, Golden Living Room provides listeners with the new single “Come Home” from the upcoming WELCOME HOME EP on Dream Catalogue™ and TAHRC this August. Samples here are skinned alive, stretched to oblivion, and now hover in ghost form, matching what he fellah done-did last year with Plug In, Drop Out. And as a lingering haze, “Come Home” seems to fit the exact feeling of being trapped in Silent Hill’s more peaceful areas, as most of Golden Living Room sounds (and if not directly sampled from) a variety of video games. Grip WELCOME HOME EP from Dream Catalogue™ and/or TAHRC, and live the virtuality Golden Living Room is beckoning everyone to “Come Home” and experience for themselves.

• Golden Living Room:
• Dream Catalogue™:

The Aislers Set announce catalog reissues, West Coast shows, foster an uneasy truce between sworn enemies Slumberland and Suicide Squeeze

Hens love roosters, geese love ganders, everyone else knows Suicide Squeeze and Slumberland hate each other. They’re like mongooses and snakes, oil and water, a duck’s back and water, fire and water, many other things and water. Yet, somehow even the bitterest of enemies join together for a worthy cause. Behold, a cause worthy enough to engender a partnership between Slumberland and Suicide Squeeze: reissuing the catalog of esteemed San Francisco indie-pop band The Aislers Set.

On September 23, Slumberland will reissue the band’s first two records, 1998’s Terrible Things Happen and 2000’s The Last Match. Taking the baton from their hated rival, Suicide Squeeze will reissue the group’s final album, 2002’s How I Learned to Write Backwards, on October 14. All three records have been remastered and given eco-friendly CD cases. In the case of the LP releases, this will be the first time the three records have been available on vinyl in a decade. Ever the overachievers, Suicide Squeeze have also re-sequenced How I Learned to Write Backwards. Beyond these reissues, a new record of singles and rarities from the band is being prepared for release in 2015. Until then, listen to a sampler of material from these records below:

To cap off this flurry of Aislers-related activity, the band will be getting together for a few West Coast shows this September. Though having ceased regular activity in 2004, the group has played sporadic reunion shows since, these dates being the latest in such a series. Word has it, all shows will be attended by Suicide Squeeze employees, who will stand at the left side of the club, and Slumberland employees, who will stand at the right.

The Aislers Set dates:

09.22.14 - Seattle, WA - Neumos
09.23.14 - Portland, OR - Holocene
09.26.14 - Los Angeles, CA - Echoplex
09.28.14 - San Francisco, CA - The Chapel

• The Aislers Set:

Cerberus: Yom San - Playa Piano

By Strauss on Jul 31 2014 

Yom San thanks these people, in this order, on the liner notes of the cassette release, Playa Piano: Trees, Frankie Rose, Spoon, Sigur Ros, Cam’ron, Yeah Yeah Yeahs, The Pixies, Etta James, Juelz Santana, The ROC, Bjork, Battles, Aaliyah, Múm, Black Rob, Bad Boy, Javelin, Busta Rhymes, Flip Mode, Mariah Carey, Bone Thugs, Coco Rosie, Haerts, David Bowie, Blondie, Jay-Z, Hess is More, Michael Jackson, The Emotions, Will Smith, Ace of Base, The Chromatics, Death Cab for Cutie, TOPS. I mention this because you’ll hear all of these people, I think in this exact order order, as you make your way through this incredibly clever, well-constructed, and downright funky-as-fuck mixtape from Crash Symbols. If Girl Talk calmed his ass down, took about two-too-many spoonfuls of cough syrup and tripped his way into your bedroom, that’s about the vibe Yom San picks up on: A spinning-room delirium under your covers, snuggling up to your ears like it wants some late-night lovin’. Juelz rapping over Etta James? Why the hell not! Especially if Yom San’s gonna spin it this way, with the volume pulsing up and down, throbbing in and out, the beat rolling back and forth across your brain. You’ll definitely recognize the elements here, but oh how the drug of Yom San’s tricky mixing can intoxicate and change the molecular structure of things; these once-recognizable molecules have been altered into beautiful (and trippy) new shapes and sizes. And best of all, that trip is anything but scary: A lovely last thing, better for the ride home than it is for the club itself.

Braids announce pair of festival dates, summon forth a beach ball

Here at The Tape, we pride ourselves on our exceptional service. Whether we succeed or not, our goal is always for every site visitor to feel like a close friend by the time they leave our humble site. Maybe we don’t always nail it, but I’d like to think that most of the time, we do. What we offer is a level of personal engagement that you will not find at other websites. So, friend, walk with me, while I tell you about Braids and their pair of upcoming festival dates.

I trust you know Braids, correct? If not, friend, let me tell you that they’re an art-pop group from the fine city of Calgary, Alberta. Last year, they put out a record, their second overall, titled Flourish // Perish. Now, as is proper, they are playing a pair of festival dates. The first will occur on August 23 in the fine city of Rock Creek, British Columbia, at the esteemed Ponderosa Festival. That appearance will find them sharing stage with the likes of Wampire, Plants and Animals, Ladyhawk, and plenty of others, though I’ll not bore you with too many details. Now, for the second date, it shall happen on September 24 at Decibel Festival in Seattle, Washington. The lineup for that one stretches far as the eye can see, but features Tiny Mix Tape favorites such as Oneohtrix Point Never, Andy Stott, Millie & Andrea, and Demdike Stare. As such, I think you may well be interested.

Our time together, in this story at least, has ended. Goodbye, friend. I think you will agree, you’ll not find this level of service anywhere else.

Braids dates:

08.23.14 - Rock Creek, BC - Ponderosa Festival
09.24.14 - Seattle, WA - Decibel Festival

• Braids:

Watch: B L A C K I E… ALL CAPS WITH SPACES - “None Above”

My room-mates probably hate me for blastin’ B L A C K I E… ALL CAPS WITH SPACES on the regular, but what can you do? It’s music that deserves to be played loud as fuck. I mean, headphones are an option of course, provided you’d like a perforated eardrum or two.

This morning I was in rare douche form: at about 7 AM I was poppin’ off this new B L A C K I E… ALL CAPS WITH SPACES joint, “None Above” in my tiny-ass room. Much to the dismay of the rest of the household. But holy moly, this one’s a straight bone-shatterer, done left me with my jaw on the floor! I had to literally pick my jaw up and close my mouth shut with my hands! It’s a tough one to swallow, certainly, but there’s just something fucking gorgeous about this track. I like it like that though, first thing in the morning, a few rusty nails mixed in with my Froot Loops. I know that’s how B L A C K I E… ALL CAPS WITH SPACES likes his cereal.

IMAGINE YOURSELF IN A FREE AND NATURAL WORLD could be dropping any day now, there’s no release date as of yet, but keep your eyes peeled for that. Perpetuate the real.

• B L A C K I E… All Caps, With Spaces:

Animal Collective get their paws on the ones and twos for upcoming DJ shows, leave hair everywhere

Animal Collective have been around for a pretty long time, and like any species that’s enjoyed similar company before and after leaving the burrow — somewhere along the line, becoming arguably the most popular unpopular band in existence — they’ve realized the necessity of branching out! Obviously, Panda Bear and Avey Tare both have their individual projects, but what about the subconscious social desire to return to the family? Why… yes! The members of AnCo don’t exist outside of the norms and theories of human psychology, which is why they’ve been reconvening, not for an extremely hyped new LP, but for… er, DJ sets!

Oh yeah, that’s a curtain of some sort. The outfit had a spate of DJ shows this past May and June, and now they’ve scheduled a few more on the East Coast this fall. Panda Bear won’t be at any of them, though, and apologies to fans in Miami, as only half of the collective will actually be on hand to “perform.” Yes, yes, go ahead and debate amongst yourselves the acceptability of using the name “Animal Collective” on the bill. Not sure about their DJ chops either, but try listening to a previous set here to get a sense. Diehards ensure sellouts, I’m predicting.

(DJ set) dates:

08.02.14 - Miami, FL - Grand Central *
09.10.14 - Philadelphia, PA - The Dolphin ^
09.12.14 - Brooklyn, NY - Brooklyn Bowl ^
10.02.14 Philadelphia, PA - The Dolphin %
10.03.14 - Brooklyn, NY - Brooklyn Bowl %
10.05.14 - Washington, DC - U Street Music Hall %
11.12.14 - Washington, DC - U Street Music Hall %
11.13.14 - Philadelphia, PA - The Dolphin %
11.14.14 - Brooklyn, NY - Brooklyn Bowl %

* Deakin and Avey Tare
^ Geologist and Deakin
% Geologist, Deakin, and Avey Tare

• Animal Collective:

♫ Listen: RITCHRD - TAPE4

Ewwwwwwwwwwwwwwwwww!!! Richy-Rich got those gooooood ass party tunes! Go on and dip your toe into TAPE4. The water’s fine. Seriously. It’s a hot-tub of 80’s sleaze-grooves, 404 hiss, and thick drums, so you know, it’s, like, a beat tape. Except it’s digital. Get it? Uh-huh. _gold. And if you need more coaxing as to why TAPE4 is the cat’s pajamas, take another look at the kid lampin’ on the album cover and then try to tell me you don’t want to listen this? Can’t? Thought so.


Bonus: if you haven’t yet, check out RITCHRD’s live collaboration with DONGOLDMAN from ealier this year. :D


Film Review: The Almost Man (Dir. Martin Lund)

The Almost Man
Dir. Martin Lund

[Ape&Bjørn AS; 2012]

by Asha Sheshadri


In the slapstick tradition, films about People In Their Late 20s-to-Mid 30s Who Can’t Get Their Shit Together portray maladjusted yet endearing fuck-ups in crises, struggling to level up to the “desert of the real.” They meander through a miasma of hangovers, vomit on furniture, fights with strangers (or non-strangers), living with/accepting handouts from parents, disaffectedness, full-frontal nudity, public urination, one-night stands, professional ineptitude, and confrontational conversation. Martin Lund’s The Almost Man is an example of a film that gleefully hinges on these tropes; however, its subject matter ultimately takes the wind out of any remotely triumphant moments or introspective notes.

Henrik (Henrik Rafalesen) exists in the archetypal prolonged adolescence. He lives in an infuriatingly well-furnished apartment (resplendent with party guests and iTunes playlists) with his girlfriend Tone (Janne Heltberg Haarseth), who willingly engages (and even provokes) his eyebrow-raising fraternity-style humor. Henrik is unwilling to abandon his overindulgence, substance abuse, and overall “harmless” irreverence, which doesn’t sit well with Tone, and an inevitable downward spiral toward existential decay ensues. As with other similar films, Tone (as a female) is lazily typecast as the latently antagonistic part of the equation — the fly in the ointment of Henrik’s “happy-go-lucky” immaturity. The casual (and not-so-casual) misogyny of Henrik’s attitude toward Tone (in his language and conduct) is, unfortunately, a behavior that is accurately reflected in society.

The film manages to assert itself in certain capacities. Henrik and Tone’s clumsy reality is choreographed well by Lund; environments and scenarios weave themselves in and out of unequivocally uncomfortable, colorfully disgusting tableaux. Henrik’s social deviance extends itself through various arenas, from audible and crass jokes directed toward Tone at a grocery store, to his leaving a dinner party to break into a car and urinate into a copy of Peter Pan (hands down, the film’s most memorable moment), to abandoning his own party to attend another, in which he fights and makes out with (separate) strangers. When Tone chastises him for “fighting and making out,” he “gaslights” her feelings as overreaction by humorizing his behavior.

Rafaelsen’s and Haarseth’s respective performances interact with fluidity, plausibly illustrating that a relationship’s deterioration doesn’t happen overnight. They are versatile enough to overcome the film’s unoriginal aspects (for example, Tone’s “female” persistence as a catalyst). The lyrically cheeky affection between Henrik and Tone retreats gradually and stealthily before morphing into Overt Conflict And Disdain. However, when the trajectory reaches this point, Tone declares “I like you better when you talk than when you point,” abruptly ending their Overt Conflict And Disdain. Commence Henrik’s precious resignation to a banjo-xylophone saccharine jangle, effectively resolving the struggle in a tidy manner for those with low-attention spans.

There isn’t much room for excitement or emotional involvement in The Almost Man and others of its ilk. A plot line that tethers itself to a “quirky algorithm” is suffocated by its lack of choices that could have otherwise allowed the film greater autonomy. The characters develop in a perfunctory fashion; if Henrik and Tone were given broader scope and weren’t ascribed to such a “timeline,” the actors would have been capable enough to have facilitated more versatility. Instead, The Almost Man is lightheartedly painful and low-maintenance, flourishing in its few patently awkward moments (for those intrigued by children’s books as interfaces for urination) and fantastic Scandinavian interior design (for those who dream of leveling up from IKEA). Lund might’ve been better suited taking his cues from Louis CK than Judd Apatow, and perhaps the hidden layers of intrinsic bleakness could’ve asserted themselves more disarmingly in a less-exhausted, less idiosyncratically predictable fashion.

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