No Dark/No Lightby Lilac Shadows (Raleigh, North Carolina) *
No Dark/No Light. Once you start tearing through this album it’s hard not to say that it would fit directly into a Kill Bill fight scene, it’s hard to say it would, but I’m saying it. Lilac Shadows has given us something wonderful and open and integrated fully. This isn’t an album of careful reservation, or patient release. It’s all up front and all immediately satisfying. ‘Tunnels’ prepares you right away for the sprinting (or skipping) nature of things to come and, with short reprieves, this album continues to take that lead. Often when explored with simplicity an album falls short, but simplicity is not No Dark/No Light, in fact the complexity that surrounds rational foundations is exactly the build that makes this so tangible. DiggupTapes FTW. @Dingusonmusic
It’s 5:00pm on a Friday and I’m currently bumping back to back deep house vinyls putting off cleaning my apartment before my mother lands at JFK later tonight and comes looking for a comfortable couch to spend the weekend on… So in my internet explorations of procrastination I came across a certain Kickstarter. A certain Kickstarter which I myself have already donated $5…
Now this Kickstarter has a goal set at $5MILLION, no minimum donation, and, in all honesty, no real promise that you will get anything at all out of supporting their cause even if they do meet this small fortune of a goal. This Kickstarter is for the collective fans of Wu-Tang to have the opportunity to come together as a single force and enter the upcoming auction for the secretly recorded, limited 1 of 1, never before heard double album The Wu – Once Upon A Time In Shaolin.
A little under a month ago there was a wave of articles covering the existence of this album and the explanation behind why Wu-Tang decided to release it as they will. They claimed their aim is to reintroduce the idea of music as art. RZA was quoted saying that “We’re making a single-sale collector’s item. This is like somebody having the scepter of an Egyptian king.” Before being auctioned off to the highest bidder, the album will first be taken “on tour” to different locations around the world where, for a $30-$50 “listening fee,” visitors will be allowed to listen to the record. Once. And possibly never again.
The Kickstarter profile reads that should they meet their goal and win the auction they will then distribute the album for free. A digital copy would be distributed to each individual backer and then, through our friendly neighborhood internet providers, it would eventually find its way into the hands of anyone who wanted it. The page continues to read that although there is always the chance of being outbid once the auction actually takes place, all donations can be refunded or, if the people prefer, put towards an attempt to book Wu-Tang for a performance that would then be free to all those who donated. Cool.
None of the above has anything to do with the $5 I chose to donate. I did that to pick a side. The Wu side. Because if the WU PEOPLE don’t at least try to win this, you know who will? A brand. Or worse, a record company. OR MAYBE, as the Kickstarter suggests, a filthy rich person who finds it amusing to keep it locked away once they have it. Which like, alright you win, bruh, have fun. But if it is a brand or a record company (which it almost definitely would be because they got all this MONEY and can benefit HEAVILY from an otherwise never to be released album) then we’re going to end up paying for it anyway. Or not be “allowed” to download it “for free” because we have an iPhone instead of a Droid and then we’re gonna have to repeatedly ask our tech savy but slightly less stylish friends to send it to us via Google Drive which we don’t really know how to use all that well anyway. And honestly, not for nothin… what do you think ODB would prefer?
‘Hail Mary (ft. Danny Brown)’ by K.Flay (San Francisco, California) *
Right now I’m sitting on the toilet taking a shit with the warmth of my computer heating my balls. I think I’m going to sit here for a few more minutes while I dig through K.Flay’s new tracks because when we first featured her here on Dingus, her album was called Mashed Potatoes and she certainly didn’t have a million Soundcloud subscribers. Now she’s got Danny Brown on her tracks, an artists rooted in DIY in his own special way. Maybe we’ll see her at Afropunk this year. This girls reminds me that I need to be saying “balls deep” far more often. Balls deep bro. [Free Download] @Dingusonmusic
Never Go Home, the short burst fire project from Huge Millwood and David Åhrström is a tantric experience that rattles of quick hip hop beats that couldn’t possibly be more misplaced for their time. But being misplaced for 2014 is exactly what makes something “so 2014″. Archives feels archived. It feels like the drawing up of old memory reflex from a life long production recall. It pleases in punctuation. [Free Download] @Dingusonmusic
‘Alone’ by chippynonstop (Los Angeles, California)
Chippynonstop might just be changing the game. Or at least her game. Barring her unique brand of internet obnoxiousness as a means of gaining attention (and I totally love it) it seems like her music is progressing from the the shock value of a Palahniuk novel you read in middle school toward something more substantial and challenging. And yeah, I know she’s bitting on M.I.A. hard, but who doesn’t bite on someone or something (obviously not Dingus). If you’re asking me (you are), she’s doing the aesthetic far more justice from her dark little corner of the internet than anyone in a more relevant scope probably ever will. So just chill. There’s thought in here somewhere and you can’t have everything spoon fed to you as a listener, you lazy piece of shit. @Dingusonmusic
It’s about 10 seconds before you hear anything on the group No-Fi’s bandcamp track ‘Shitty Car’, which is proof enough this is DIY demo quality punk kid music. When the track does finally start up, dudes are quick to burst out energy, real and it’s pretty dag exciting. These guys are having a blast. When half of everything coming out right now is washed out electronica or hip hop influenced, their drum bashing heavy surf punk sound is a reminder cool kids are still playing fuzzed guitar somewhere, beating the hell out of a drum kit.
For the track pic, the band uses an ironic and poorly cropped shot of the perpetually shit eating Joel Osteen and their artist picture is a bunch of dudes hanging in a dirty basement, probably the band, graffiti on the walls: they’re the same slacker band you don’t remember from high school because they never showed up, except the vocals on their track are jangly catchy instead of cringe worthy. Think Black Lips. The solo at the end of the track is rad as hell noisy and pretty much solidifies the song. Lyrics ask, “Don’t you wanna take a ride with my friends and me,” and yea man, I kinda do. Cool to see what else you guys got going on. @hiv_aidz
Analog electronica’s an inimitable and involving sound, heard less and less frequently in the wake of user friendly comp programs like Reason and Logic. That’s not to take anything away from program electronica, but it definitely gives extra consideration to the groups still lugging around the gear. One such group is Detroit’s Mother Whale and their latest release, Goodbye, Earth… Hello, Moon is a set of mostly live recorded tracks, all of which bulldoze in overdrive.
What’s most exciting about this group is the elastic live drumming, making its way through a muck deep in already percussive layers to free the listener to roam the room of the recording. It comes almost to the point of deriving a tactile sense from the music. The blend of live drumming and electronic soundscape puts the sharp noises close enough to feel on your arms, your face.
The album itself is a radical movement of tracks to complete a picture, something ambient work often loses sight of. Mother Whale understands the difference between boring an audience and requiring of them an intelligent patience, holding the listener in place with frequent pattern changes, yet respectful enough to let the sounds that are worth it simmer in your ears. You don’t drown in the belching synths because they come up for air just when you need it. Albion Moonlight, Invisible Cities (Version 1), The Debutante, these are damn near pop songs. My favorite may be Albion Moonlight, bearing resemblance to Some Deaths Take Forever from Bernard Szajner’s brilliant 1980 album Welcome (To Death Row), which also melded live instrumentation and pure analog electronica, but the clear single is The Debutante.
Having just came back to Michigan for the holidays, I’m going to do what I can to catch this group live. It’s exciting to know that the sounds I was first drawn to, the record itself, may actually turn up at a live performance by the band. As cool as it can be to see a band try to cover themselves, there’s something restorative in the way these guys genuinely make this and aren’t another group incapable of duplicating the sounds they cut together in Pro-Tools. @hiv_aidz
Hey yo kid. This is “Hot From My Dingus” – that’s a reference to jizzum. And it’s a column where I’ll be premiering tracks that are coming out SOON, but not yet. You know that exclusive shit. Bite the pillow.
Let’s start with an excuse. I’ve been sick. I was supposed to post this on Tuesday, but I’ve had a cough and we all know a cough prevents you from using your computer so fuck you.
NoPop. Great band. Their demo is up on their bandcamp. But when Oliver Ignatius of Mama Coco’s Funky Kitchen (the only studio and label that you ever need to worry about ever, ever again) hit me up and said, peep this, I peeped. Then I got hard. Then it was hot from my dingus and all over my computer screen.
‘O, TV’ is subtle. But not subtle, know what I mean? You do, I’m not sure why I even ask. It’s also really in your face. But who doesn’t like it in your face. It’s a bomb track, in the fact that bombs kill people and this track might also kill people if they listen to it too many times. Facebook them?
Anyway, that’s Hot From My Dingus. Hope you LOVED IT. @Dingusonmusic
She might forget her manners, but she won’t refuse to stay…
(Photo from Lady Lust release show at The Studio at Webster Hall by this guy)
Originally formed in France by vocalist Nicolas De Pontaud, Pol the Fisherman is a rock quartet currently wrenching at the gut of NYCs local scene. With each member being from one of four contrasting countries (Australia, Italy, America and France) they blend every imaginable rock related undertone into a messy, aggressive, funky frenzy of tight but raw instrumentation coupled with direct and sometimes conversational lyrics.
While each song off their new album, Lady Lust (Listen to it here), will probably remind you of a completely different band than the last, to me, the overall vibe of the album is reminiscent to Steriogram had they formed 10 years earlier and had an infrequent back and forth relationship with heroin and speed. Does that interest you?
And now an exclusive word from the bands Andrew Moore:
“We are super excited about this album not only because it took almost a full year to complete from start to finish, but also because it involves really talented people, such as our producer J Chris Griffin, our friend Lex Sadler who laid down some awesome Moog, and Mark B. Christensen who mastered it… This record is incredibly layered, the sound has a depth that we were not expecting, it will really take your full attention to hear all the little details in the music. Even I still hear little nuances that I didn’t hear on the previous listen… We just finished shooting our music video for our title track Lady Lust which should be released in early March…”
If you don’t happen to be a fan of the album, just skip down to the bonus track, ‘Tequila’. It’s more fun than you are, homie.
If anyone out there still cares, here is my totally belated SXSW 2014 recap. It’s been almost a month, but the question still stands- who won SXSW? Last year I couldn’t get away from people talking about Foxygen and Savages, but this year there was a general sense of no one really giving a shit. Leslie Hong of Haybaby expressed it best when she told me if she just ate a ton of food truck tacos and didn’t see any music the whole week it would probably be a successful trip.
“Fuck you for being you. We are Total Unicorn.”
The first real what the fuck moment I had in Austin was seeing Total Unicorn at The Spider House for the RAW PAW showcase on Wednesday March 12th. There were two guys in pope outfits hunched over laptops with giant plastic unicorn masks with different colored light eyeballs. There was also a lady unicorn masked dancer on the stage. It was like we fell into a black hole in the middle of the Internet and wound up in a deep layer of the digital multiverse. I was into it.
Caroline of RAW PAW & Pilesss on her birthday
My pedicab crashed before I got to the Pilesss showcase at Danny Malone’s barn on 3/14. Everyone was okay, except for an unknown species of bug that I smashed with my hand. I got to this barn a couple miles outside of town to see the band Hippy who I see in Brooklyn all the time. They released this music video right before SXSW:
Hugh Trimble, a folk singer and ex-Muchmore‘s bartender, also played at the Barn. His song about his love affair with a trans-gender gave me chills. I met someone in Baltimore who said that Hugh really “walks the walk,” and I couldn’t agree more.
Guantanamo Baywatch, Honduras, and Total Slacker were the best bands at the Sailor Jerry’s/Black Bell Records showcase at the Gypsy Lounge on 3/13. One thing I noticed during SXSW was all the punk girls with Miley Cyrus apparel. The bass player in Guantanamo Bay Watch was sporting a sweet Miley shirt during their set. They reminded me of Shannon & The Clams but with more rocking surf guitar.
Honduras & Total Slacker had everyone kicking up dirt. Both super loud and energy filled. I had so many shitty free orange frozen drinks at this point in the evening it’s hard to really say what was going on. All I know is that I’ve been listening to Ace on repeat since I got back. Maybe Honduras won SXSW in my heart.
Patty Schemel of Upset in the fog
I had to hide the free red bull I got in the grass somewhere before I entered the Converse Death Match on the rainy Saturday afternoon of March 15th. It was so early Ali Koehler of Upset was drinking beer for breakfast. She also made the very true statement that the only thing that matters at SXSW is what cool brand background art you get photographed playing in front of. Patty Schemel looked pretty sweet with all that fog blowing in her face.
Sharkmuffin toured with Dingus favorite Happy Lives for the following week. We hit Columbia, SC; Boone, NC; Baltimore, MD; Charlottesville, VA; Philadelphia, PA; and Asbury Park, NJ. Here are the highlights in photographs:
Up all night in South Carolina
Assholes in matching bomber jackets in Boone, NC
condom machine at a gas station in Alabama
Jake from Happy Lives pushed me in a tub in Philly
I hung up my bra in the back on a Pizza Hut in New Jersey
With technology growing exponentially, personal computing is challenging the recording business and the internet is challenging the publishing business. Now more than ever, we see the pool of music and design growing deeper. But as always, the more music there is, the harder it is to find what really matters.
Dingus is dedicated to the search. It's here, on this humble blog that we shed light on bedroom artists in their most defining moments. If you want what's popular today, Dingus is not the blog for you. But, if you want what's fringe, pure and passionate then you've somehow landed on the right URL. So check back daily and enjoy your fellow peers' endeavors.
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