D/P/I readies new album MN.ROY on Leaving; did he stutter!?!?

Holy hell. I have absolutely zero medical expertise, and yet despite my prior insistence on wasabi as an efficient and underrated nipple-calmer, I feel compelled to make the following claim: Alex Gray’s recent output as D/P/I simply needs to be used as a non-pill alternative for the alleviation of OCD. The split-second stops and starts on his Jeanette mixtape, for instance, are so overwhelming and enjoyable, that I can’t imagine anyone would be inclined to flip light switches or repeatedly commit vehicular manslaughter (a rare form) for a significant time after a listen. Electronic improv. Pauses and rap samples. Stops and starts. It’s just too bad Gray’s doing the same thing behaviorally concerning his next release!

Start. D/P/I is releasing MN.ROY on October 9 via Leaving Records, the label of his previous 08.DD.15 (a TMT First Quarter Favorite) and Rico EP. Stop. What the hell else can be said about it?! The tracklisting’s below and the pre-order is up, but aside from that, we’re afforded precious few details concerning the production of the album itself. We’re dying to know whether we’ll hear a wild Stallones pushing his friend to succeed through barely audible cheerleading, for instance, but I suppose the track that we posted back in August will have to satisfy for the time being. Oh, and here’s another one:

It’s an imposed anticipation. The song’s progressing. The album’s coming!

MN.ROY tracklisting:

01. 001
02. 02 - B.I.D.
03. _3 A PRAY ER
04. 004
05. 05 - C.M.S. (Sunshine)
06. 006 . Wh en
07. _ DMM
08. 008
09. 09 - L.M. (Switch)
10. Opportunity (100)
11. 0011 . Ann__
12. 012
13. & Work;
14. 0014 _ 014
15. 15 - T.T.G.
16. !6, th

• D/P/I: http://djpurpleimage.bandcamp.com
• Leaving: http://leavingrecords.com http://j.mp/1E121jm

♫ Listen: Giant Claw - “22M Never Felt So Alone”

Ask any child on the street corner what motivates his or her every waking moment and you’ll keep hearing the same sentence spew out of those little mouths ad nauseam: “I want to be like Keith.” If the child is Japanese, this sentence will be in Japanese. 『 私はキースに成りたい。』

Who knew that the Orange Milk Records co-honcho, former TMT editor, and solo synth sorcerer Keith Rankin (a.k.a. Giant Claw) had such a following in the international juvenile underground? Young and impressionable minds recline inside the spherical chamber, waiting for those metal fingers to descend from above and e x t r a c t them straight into the prize slot.

Following close behind the omni-digital mind-melt of the DARK WEB LP, a hot&fresh NEW Giant Claw cassette entitled 22M Never Felt So Alone is already here to wrap itself around the coils of your developing brain. The tape’s impossibly dense title track presents a nice little Exhibit A to lead kids everywhere down the path of Keithdom:

1. Combine disparate traditions into a multi-headed electronic chimera beast:
¤ gimme the gurgling basslines of acid techno
 » swirl in some mutant drum machine funk a la Prince
± branch off into fragments of reggaeton, baroque synth minimalism, glossy Vaporwave muzak
▒ frost the concoction with squelchy video game melodies

B. Don’t be afraid to keep stacking on the layers:
If people aren’t barraged with dozens of tightly interwoven stimuli at every moment of their listening experience, you’re not getting the job done. Do not let those brains rest.

三番. Do not leave the comfort of your sofa.

Giant Claw’s 22M Never Felt So Alone constitutes 1/3 of the inaugural tape batch of Cleveland-based label Suite 309’s expanded incarnation, along with releases from Radio Shock and Splice Girls. Keep one step ahead of the kids and preorder all three on Bandcamp right now.

• Giant Claw: http://keithkawaii.com
• Suite 309: https://suite309.bandcamp.com http://j.mp/1qWejzn

Francisco the Man sign to Fat Possum the Label for Loose Ends the Album

Riverside via Los Angeles indie rock kids Francisco the Man are not a man at all. Confusing? No, it’s a thread of misinformation these four fellows seem intent on disseminating.

You see, they’ve got an album coming out on October 27 through Fat Possum Records, which they’ve called Loose Ends. A name that invokes a stoned Malkmus-esque rambling with half-finished solos and sloppy rhythms.

The truth is, Loose Ends is about as loose as Francisco the Man is a man. Instead, the group’s debut album is all bombastic stadium-bound drums and edgy-with-a-hint-of-drone guitar lines that nod to their instrumental origins.

Get a taster of the lead single “Progress” below or check out “Big Ideas” via Consequence of Sound and “It’s Not Your Fault” via Earmilk.

Loose Ends tracklist:

01. You & I
02. In The Corners
03. Big Ideas
04. Loaded
05. In My Dreams
06. It’s Not Your Fault
07. Progress
08. I Am Not
09. I Used to Feel Fine
10. It’s True, It’s You

• Francisco the Man: https://www.facebook.com/Franciscotheman
• Fat Possum: http://www.fatpossum.com http://j.mp/1E0NLY7

Cerberus: Andrew Weathers & Seth Chrisman - Louella

By Jspicer on Oct 01 2014 

BING! Attention shoppers, if you rush to the end of aisle 8 you will be treated to a special surprise for adults only. Don’t miss out on this one-of-a-kind deal, supplied by our friends Andrew Weathers and Seth Chrisman. Here you will be given a new soundtrack by which to live out the rest of your days, away from the muzak and the recycled pop hits of yore. This is a carefully constructed, well thought out list of what music needs to be engaging, though it’s unlikely you will need your dancing shoes again. Okay, maybe you can take a quick break for some Miley but soon you won’t miss her, just as you no longer miss gluten. Our store will accommodate all your emerging needs, like that of sensitive taste and odd combinations such as harmonica and synthesizer (it’s as tasty as peanut butter and sriracha). Your palate is welcome. Now, if you’ll excuse us, there are more customers to service with this Louella branded goodness.

Louella by Andrew Weathers & Seth Chrisman http://j.mp/1qW3IVb

♫ Listen: John Dope & Rahim Samad - “Fat in ‘14 (ft. Broke/)”

This Saturday was some great times in Brooklyn. Cassette Store Day was remarkable. Met a bunch of great people. Caught up with a few I haven’t seen in awhile. And Daniel Bashin (Dirty Tapes CEO, COO, CFO, CTO) killed it on the cassette jockey scene. So, I’m super stoked to hear what’s next, and that is exactly John Dope & Rahim Samad newest track “Fat in ‘14 (ft. Broke/).”

With Broke/ on the vocals and John Dope & Rahim Samad on the production scene, music has never got grimier. p90 tuckin’, snot boogies, literal and otherwise, that pump up, forest-fires of smoke, untouchable echoing, sniping down, rap guillotine, Lenard Coen of rap, etc. The piano goes full beat here, amongst drum kit fiddling. Entirely fat vibed.

If you think there’s a beat scene outside of New York, please come back. Dirty Tapes is one of the forerunners. Catch up!

• John Dope: https://soundcloud.com/johnfuckingdope
• Rahim Samad: https://www.facebook.com/RahimSamadMC
• Dirty Tapes: https://soundcloud.com/dirtytapes http://j.mp/1qVSD6s

James Ferraro tells us which cities he’ll be in this month, calls it a tour

Suki Girl, don’t tell me too much. Just where to find you. Tell me a city, a town, a clue… not too much. Not too much. Go on tour. Be “AT PEACE”.

James Ferraro “At Peace Tour” dates:

10.02.14 - London, UK - ?
10.03.14 - Zürich, Switzerland - ?
10.04.14 - Bologna, Italy - ?
10.07.14 - Berlin, Germany - ?
10.18.14 - Stockholm, Sweden - ?
10.22.14 - Dijon, France - ?
10.23.14 - Paris, France - ?

• James Ferraro: https://www.soundcloud.com/b-e-b-e-t-u-n-e
• Hippos in Tanks: http://www.hipposintanks.net http://j.mp/1qVILtu

♫ Listen: Slugabed - LEMME TEK U 4 A RIDE

The best part of this track is in a shoe commercial. Normally, this wouldn’t be that big of a deal, but Slugabed can have a song on television and play Creamcake with A.G. Cook and Hannah Diamond in the same month.

“LEMME TAKE U 4 A RIDE” lives in a world of actual consumerism and played-at consumerism. Has Slugabed sold his soul to the man? Is he merely trolling Foot Locker? Either way, it doesn’t really matter, because it’s at least cool to see some weird, jittery pitched up stuff rather than some raging hip-hop or terrible EDM making a shoe line seem cool. The dubstep and footwork influences marry each other nicely, letting the track meander into some glitched-out futurama while still remaining grounded. Slugabed never takes it too seriously, either, and that’s why it’s cool enough for an Adidas commercial. It’s pointedly frivolous, and what’s cooler than that?

• Slugabed: https://soundcloud.com/slugabed http://j.mp/1qVIIxO

Horse Feathers share a track from upcoming album on Kill Rock Stars, get pretty violent

Indie folk outfit Horse Feathers have returned to their longtime label home, Kill Rock Stars, for their newest LP, So It Is With Us. Of the process leading to their fifth record, vocalist/songwriter Justin Ringle says, “The joy of playing live became its own reward, and I dared myself to allow that joy to shape the songwriting. In the end, I was able to let it go, and I don’t own it anymore.” Because at the end of the day, if you aren’t having fun, why bust your ass on that banjo night after night?

In that joyful spirit, the five-piece has premiered lead single “Violently Wild” via NPR. The opening song has a soaring, triumphant quality, with Ringle rousing the jangly outfit to a bright and optimistic harmony. Yes, there’s a banjo, a violin solo, and plenty of beards, but Horse Feathers can play, so don’t mess with their down-home Portland sound. The group is also gearing up for a long string of North American tour dates, beginning and ending in their Pacific Northwest territory. Before So It Is With Us drops on October 21, listen to “Violently Wild” here.

Horse Feathers tour dates:

10.28.14 - Bellingham, WA - The Wild Buffalo
10.29.14 - Vancouver, BC - Biltmore Cabaret
10.30.14 - Seattle, WA - The Crocodile
10.31.14 - Spokane, WA - The Bartlett
11.01.14 - Missoula, MT - Top Hat Lounge
11.02.14 - Bozeman, MT - The Filling Station
11.04.14 - Jackson, WY - The Town Square Tavern
11.07.14 - Boulder, CO - Boulder Theater
11.08.14 - Denver, CO - Bluebird Theater
11.09.14 - Colorado Springs, CO - Ivywild School
11.11.14 - Albuquerque, NM - Low Spirits
11.13.14 - Austin, TX - Holy Mountain
11.14.14 - Dallas, TX - Club Dada
11.15.14 - Norman, OK - The Opolis
11.18.14 - St. Louis, MO - Firebird
11.19.14 - Madison, WI - Play Circle Theater
11.20.14 - Chicago, IL - Lincoln Hall
11.21.14 - La Crosse, WI - Cavalier Theater
11.22.14 - St. Paul, MN - Turf Club
11.23.14 - Fargo, ND - The Aquarium
11.29.14 - Portland, OR - Crystal Ballroom
12.03.14 - San Francisco, CA - GAMH
12.04.14 - Santa Cruz, CA - The Atrium at Catalyst
12.05.14 - Los Angeles, CA - The Satellite
12.06.14 - San Diego, CA - Casbah
12.07.14 - Phoenix, AZ - The Crescent Ballroom
12.11.14 - Salt Lake City, UT - State Room
12.12.14 - Boise, ID - Neurolux
12.13.14 - Eugene, OR - W.O.W. Hall

• Horse Feathers: http://horsefeatherstheband.com
• Kill Rock Stars: http://www.killrockstars.com http://j.mp/1E0uiGI

Film Review: Wetlands (Dir. David Wnendt)

Wetlands
Dir. David Wnendt

[Strand Releasing; 2013]

by Jeff Miller

Rating:

“An American near Billy wailed that he had excreted everything but his brains. Moments later he said, ‘There they go, there they go.’ He meant his brains.

That was I. That was me. That was the author of this book.”
—Kurt Vonnegut, Slaughterhouse-Five

I open with this Vonnegut quote to assert that not all toilet humor is inherently bad. There is a tendency to associate gross-out humor with youth and children, who notoriously lack good taste. And crude humor is easy fodder for shock value, sometimes exploited as an easy way to market an otherwise meritless work of art. But this quote demonstrates — although admittedly, removed from its context, in a more withered and watered down way — humor’s ability to communicate the imperfectness of humanity. It also serves as a sobering reminder that this novel about aliens and time travel is also about the very real firebombing of Dresden. So while some consider toilet humor to be nothing more than throwaway poop jokes (and the genre has plenty of those), we should acknowledge that there are instances in which it is capable of reminding us of our own struggles with this disgusting mortality.

Which brings me to Wetlands, a German gross-out film based on a German gross-out novel about — most simply — a teenage girl and her hemorrhoids. The film employs a series of gross-out gags — and while some of them merely disgust, others strive to reach that upper echelon of transcendent relatability.

Helen (played by Carla Juri) is an 18-year-old whose fixation on her own genitals (“wetlands”) and bodily fluids is matched only by her disdain for — and neglect of — personal hygiene. When the unfortunate combination of hemorrhoids and an anal fissure land her in the hospital and she undergoes rectal surgery, she sees it as an opportunity to get her divorced parents back together. Along the way, flashbacks and fantasies explore her sexual urges and her relationship with her parents. It is never made explicitly clear how much of Helen’s persona is typical teenage rebellion, how much is psychological construct, and how much is something else entirely.

This ambiguity is part of what makes Wetlands so successful. But most of the success is owed to Carla Juri, who somehow manages to make Helen a charming character, despite her semen-stained hands, crass stories, and deviant nature. The fact that she is conspiring for the naïve cause of reuniting her divorced parents makes her more sympathetic (and her naïvety makes her more endearing).

Where the film comes up short is with its confused development of the romance between Helen and her male nurse Robin (Christoph Letkowski) — the other reason that Helen conspires to lengthen her hospital stay. Robin is a seemingly normal guy who is equal parts captivated and disgusted by Helen, drawn to her beguiling personality and aloofness. But he never becomes a full on co-conspirator, instead remaining unsure and apprehensive about her. While the film resists the urge to make Robin the male equivalent of Helen’s crudeness, it is never clear what it is about him that Helen is attracted to. This — combined with a revealing scene near the end that tries to over explain all of Helen’s eccentricities — mire the last third of the film in heavy-handedness and trite romanticism.

But despite this unevenness (and some largely uninspired direction from Wnendt), Wetlands is still a lot of wince-inducing fun. Full of spit, mucus, and shit, everyone is bound to find at least one scene that makes them squirm or ruins their appetite. Uniting the uncomfortable body horror of Cronenberg with the lowbrow gags of the American Pie series, Wetlands is not content to merely air dirty laundry. It wants to rub our faces in the soiled underwear, too. http://j.mp/1E0r1HA

Film Review: Wetlands (Dir. David Wnendt)

Wetlands
Dir. David Wnendt

[Strand Releasing; 2013]

by Jeff Miller

Rating:

“An American near Billy wailed that he had excreted everything but his brains. Moments later he said, ‘There they go, there they go.’ He meant his brains.

That was I. That was me. That was the author of this book.”
—Kurt Vonnegut, Slaughterhouse-Five

I open with this Vonnegut quote to assert that not all toilet humor is inherently bad. There is a tendency to associate gross-out humor with youth and children, who notoriously lack good taste. And crude humor is easy fodder for shock value, sometimes exploited as an easy way to market an otherwise meritless work of art. But this quote demonstrates — although admittedly, removed from its context, in a more withered and watered down way — humor’s ability to communicate the imperfectness of humanity. It also serves as a sobering reminder that this novel about aliens and time travel is also about the very real firebombing of Dresden. So while some consider toilet humor to be nothing more than throwaway poop jokes (and the genre has plenty of those), we should acknowledge that there are instances in which it is capable of reminding us of our own struggles with this disgusting mortality.

Which brings me to Wetlands, a German gross-out film based on a German gross-out novel about — most simply — a teenage girl and her hemorrhoids. The film employs a series of gross-out gags — and while some of them merely disgust, others strive to reach that upper echelon of transcendent relatability.

Helen (played by Carla Juri) is an 18-year-old whose fixation on her own genitals (“wetlands”) and bodily fluids is matched only by her disdain for — and neglect of — personal hygiene. When the unfortunate combination of hemorrhoids and an anal fissure land her in the hospital and she undergoes rectal surgery, she sees it as an opportunity to get her divorced parents back together. Along the way, flashbacks and fantasies explore her sexual urges and her relationship with her parents. It is never made explicitly clear how much of Helen’s persona is typical teenage rebellion, how much is psychological construct, and how much is something else entirely.

This ambiguity is part of what makes Wetlands so successful. But most of the success is owed to Carla Juri, who somehow manages to make Helen a charming character, despite her semen-stained hands, crass stories, and deviant nature. The fact that she is conspiring for the naïve cause of reuniting her divorced parents makes her more sympathetic (and her naïvety makes her more endearing).

Where the film comes up short is with its confused development of the romance between Helen and her male nurse Robin (Christoph Letkowski) — the other reason that Helen conspires to lengthen her hospital stay. Robin is a seemingly normal guy who is equal parts captivated and disgusted by Helen, drawn to her beguiling personality and aloofness. But he never becomes a full on co-conspirator, instead remaining unsure and apprehensive about her. While the film resists the urge to make Robin the male equivalent of Helen’s crudeness, it is never clear what it is about him that Helen is attracted to. This — combined with a revealing scene near the end that tries to over explain all of Helen’s eccentricities — mire the last third of the film in heavy-handedness and trite romanticism.

But despite this unevenness (and some largely uninspired direction from Wnendt), Wetlands is still a lot of wince-inducing fun. Full of spit, mucus, and shit, everyone is bound to find at least one scene that makes them squirm or ruins their appetite. Uniting the uncomfortable body horror of Cronenberg with the lowbrow gags of the American Pie series, Wetlands is not content to merely air dirty laundry. It wants to rub our faces in the soiled underwear, too. http://j.mp/1E0r1HA

Tiny Mix Tapes is an online music and film magazine with news, reviews, features, and hot replica watches.