The five thing. Five more…. again. Again and again and again (and again). Five more, same as last time (and the time before) five more music things, another five? Already? Alright already? You never answered the question, you never do, why is that? Poor what? Who? Where’s did we put the plot? Dive? Five more pieces of earfood? Shall we do it again? Back to back to back being back to the five musical things thing and the fractured music portal yet again (and again and again) and yeah, we did say all this last week and this is a test and the weeks before and blah blah blah while the whole world window and no, we never do and the proof of the pudding and all that proof reading. It doesn’t really matter if it was a television fizzing and going off and things back then when we first heard of the Window going off and things. and like we did ask last time, does anyone bother reading the editorial? Does anyone ever actually look down the rabbit hole or is it all just method acting? Cut to the chase, there’s loads of music further down the page, well five or so pieces of music, cut to the damn chase, who needs an editorial? Who needs any of this? Who needs it, who needs it…
What do we have today? Well the Electric Six cover of Strutter, a kiss classic of course, didn’t quite cut it, here’s the musical things that did…
1: Rắn Cạp Đuôi – Ngủ Ngày Ngay Ngày Tận Thế ,the new album by Vietnamese experimental collective Rắn Cạp Đuôi. “Started in 2012 from Saigon, Vietnam, Rắn Cạp Đuôi is an international multi genre, experimental music and visual arts collective, a meme club but also a tin teardrop”.
“Ngủ Ngày Ngay Ngày Tận Thế” (“sleeping through the apocalypse”) is a surreal and psychedelic thrill-ride through Vietnamese traditions and culture. Co-produced by Berlin’s Ziúr, it’s a firework display of history, genre and complex emotionality that’s daubed expressionistically with absurdist humour. “
“Based in Ho Chi Minh City, Vietnam, Rắn Cạp Đuôi have been challenging their city’s perception of sound art and musical experimentation since 2015, when they were all just 16 years old. Made up of multi-instrumentalist and composer Phạm Thế Vũ, bassist and producer jung buffalo (aka Đỗ Tấn Sĩ) and multi-instrumentalist and producer Zach Sch, RCĐ write and perform music that’s experimental not for experimentation’s sake, but because they’re thirsty for fresh combinations of sounds and techniques.
The trio’s debut “Ngủ Ngày Ngay Ngày Tận Thế” is a surreal and psychedelic thrill-ride through Vietnamese traditions and culture; co-produced by Berlin’s Ziúr, it’s a firework display of history, genre and complex emotionality that’s daubed expressionistically with absurdist humour.
The band wields a breathless energy that’s been honed from relentless live performance. Notorious improvisers, they performed at a local gallery for two days without breaks. On “Ngủ Ngày Ngay Ngày Tận Thế”, this is routed into a series of interlocking vignettes that melt layered collages of samples with pop and trap, and unique infusions of traditional music with the raw power of Boredoms, Ecco2k and Otomo Yoshihide.
Reflecting pools of liquid ambience are channelled through beating percussion and alien electronics, while chattering voices twist and turn through scorched digital wreckage. Themes and harmonies fluidly mutate from traditional Vietnamese music forms and into cataclysmic pressurized club.
The album was mostly penned by Zach Sch following the death of his father, but refuses to dwell on darkness, instead offering a multi-faceted celebration of life.
Fleshed out by jung buffalo, Spencer Nguyen, and Phạm Thế Vũ to reflect the kinetic communication of the group’s dynamic, the tracks were subsequently reduced to a cinder by Ziúr, who beamed them into the fifth dimension.
“Ngủ Ngày Ngay Ngày Tận Thế ” is a vivid, unique record that introduces a powerful new force in experimental music. By raking through the distant past’s cultural artifacts and reshaping them with contemporary cybernetics, Rắn Cạp Đuôi’s music plots a course to the far future”.
2: Alaskan Tapes & The Last Dinosaur have released a couple of tracks, one of them can be heard on their Bandcamp page, “This was originally intended to be a beautiful 7″ record but the manufacturing industry is so backed up at the moment that it could be a year before that’s a reality so we’ve chosen to release this digitally in the meantime”. And, as is always the case with The Last Dinosaur, the one track we can hear is rather beautiful. As beautifully delicate as ever, as crafted as ever, that attention to detail that is always there, that glow, that warmth
3: Blyth – Do rather like this Confessions of a Justified Sinner album, is it just me or is there a hint of that big sound of Ginger Baker’s Air Force about it? Had that Lady Godiva song earworming in my head for the last couple of days and it might be something to do with the title track of this excellent Blyth album. Blyth is the work of Ian White, drummer with Gallon Drunk, Lydia Lunch, Big Sexy Noise etc. Now Gallon Drunk were much appreciated around here back in the last century and our days of print and f around Camden, Big Sexy Noise were much appreciated around here in more cent times, and this is sounding brilliant. THis is sounding brilliantly massive…
“Revered drummer Ian White releases his first solo project, named Blyth, the compelling instrumental album entitled, Confessions of a Justified Sinner. Since 1993, Ian White has been a key member of the influential and passionate UK band Gallon Drunk, playing drums on six critically acclaimed albums – In The Long Still Night (1996), Black Milk soundtrack (1999), Fire Music (2002), The Rotten Mile (2007), The Road Gets Darker from Here (2012) and the band’s last LP, The Soul Of The Hour (2014). In 2009, with Gallon Drunk guitarist, organist and lead vocalist James Johnston and venerated saxophonist Terry Edwards, Ian White was a founder member of Big Sexy Noise; visionary No Wave singer, performer and writer Lydia Lunch’s vehicle for spirited musical adventures. To date, Big Sexy Noise have delivered two highly commended albums – their eponymous 2009 debut and the stirring Trust The Witch (2011). During 2002, Ian White played drums live for Barry Adamson (a founder member of Magazine, The Bad Seeds and soundtrack composer), who was touring his Mute album King of Nothing Hill, and in 2016 he contributed to former member of Nick Cave & The Bad Seeds’ James Johnston’s debut solo album, The Starless Room.
Today, as Blyth, Ian White moves to the foreground for his premier self-penned recording, Confessions of a Justified Sinner. Written, arranged and performed by Ian White, recorded with Blyth mixer Giles Barrett during December 2019 and January 2020 at Soup Studios and The Silver Building, London E16, Confessions of a Justified Sinner is a propulsive and hypnotic vortex of enticing sonic attack and daring. Featuring strategic contributions from James Johnston, on guitar and additional piano, together with former Gallon Drunk bassist Jeremy Cottingham on lead and wah guitar, Confessions of a Justified Sinner is a thrilling, episodic soundscape, evoking distant echoes of experiential European bands of the past, contemporary sample driven music and elements of free jazz. Blyth’s unguarded revelations are vindicated and should be played loud and often” Text by Ian Johnston . Find the labum and more details on the Bandcamp page
4: The Academy of The Sun – Following on from The Academy of Sun‘s ambitious 2020 album ‘The Quiet Earth’, Heaven’s Latheis proud to present two new songs from this very special Brighton-based ensemble. On ‘It Is Finished When It’s Destroyed’ and ‘Ghost Foxes’, The Academy of Sun have never sounded so glorious”.
The two new piece sound lush, full bodied, 80’s in the best kind of way, a touch of IQ or maybe Japan or Coil about them in an Associates meets Webcore kind of way, strangely enticing, intriguing, and yes, as expansive as ever, Ghost Foxes is punchy but never in an obvious way, something very warm about that production as well, a hint of Julian Cope in there maybe. They have been doing things with Kayo Dot’s Toby Driver of course, Andy Sears period Twelfth Night maybe, nothing that really sounds like anybody really, they are rather intriguing, clever, rather beautiful, you’ll need to wait until 6pm on Friday, unless you’re reading this after 6pm on Friday which of course means you can head for that Bandcamp page and hear the two impressive tracks right now…
“On Friday, July 2nd at 6pm BST, the EP will be released on 7” lathe-cut vinyl via the label’s Bandcamp. This black hand-numbered 7” high quality stereo lathe-cut vinyl features an engraved Heavens Lathe logo, 230gsm sleeve, black inner sleeve and PVC protective sleeve. Ships within a white polylined paper inner sleeve and a ‘lathe cut’ care card and includes digital download. Otherwise, these tracks will be available digitally in mid-August”
Here’s something from that 2020 album
and here is the full album.
5: Black Dice – have announced details of their first album in almost 10 years. Mod Prog Sic will be the debut release on DFA Records label head and co-founder Jonathan Galkin’s new label, FourFour Records, out on 1 October 2021. The album will be followed by North American tour dates throughout October and November 2021. here’s a first taste of that new album, “the first taste of what to expect from their seventh long player”
25 years on from their formation in Providence, RI, Black Dice return with a wildly propulsive record. Basslines strain at the end of their leashes, tones bounce like gravity is being switched on and off. Their command is absolute, a choreography performed upon listeners. Since their first show in 1997, working at the edges has taught Black Dice the bliss to be found there and Mod Prog Sic is the evidence. If it seems ridiculous to speak of these as pop songs, it’s even more ridiculous to speak of them as anything else.
Black Dice’s recorded legacy reveals an obsessive focus, like loner teens taking objects apart to see how they work. This fixation on craft and composition exposes a restlessness that pushes each record to a distinct edge, impossible to conflate with any other entry in their discography, let alone with any other band. Black Dice’s disquiet, their relentlessness, their work ethic, their shimmering, howling, lurking thump belongs to them and them only.
Almost exactly one year on from leaving the now-dormant label DFA behind, Jonathan Galkin has launched FourFour Records to “seamlessly continue on with the artistic, creative work I did for the past 20 years, plus sign artists who I have been eager to work and collaborate with. Black Dice’s Beaches & Canyons (2003) was the first full length album released on DFA, and there could be no more appropriate band in which to launch my new label.” Albums by Matias Aguayo, NHK yx Koyxen, Nik Void (Factory Floor), Benoit & Sergio, Eva Geist, Larry Gus & Katie Alice Greer (Priests) are being completed now”.
And while we’re here, something from 2019
Fea, from their 2019 album No Novelties, released on Joan Jett’s Blackheart label.
Lyrics (English) I have no more options, I have nothing to pawn anymore I have hours left, I don’t have time, and I forget to breathe Well either way, that’s life, how I like to struggle I justify, I go shopping, I look for a way to escape I take three steps forward and five steps back When you don’t see the exit or anything to dream about I know, I know, I failed, I failed I know, I know, I failed, I failed I can’t leave the vice, I feel impossible to control Out of stress and desperation, I lose sanity and health I need to feel relief, boredom is fatal And it betrays me, selfishness, I do it out of necessity I take three steps forward and five steps back When you don’t see the exit or anything to dream about I know, I know, I failed, I failed I know, I know, I failed, I failed I have no more options, I have nothing to pawn anymore I have hours left, I don’t have time, and I forget to breathe Well either way, that’s life, how I like to struggle I justify, I go shopping, I look for a way to escape…
And Lady Godiva..