NAH- WOE (2014)

NAH has been busy, as Woe is his ninth release over the past two years.  I loved his debut, Tapefuck, and have followed his stuff ever since.  That said, while Woe has a much different soung than how NAH started, it probably ties Tapefuck as his best.  The production on this album brings to mind Death Grips, but is able to remain unique and doesn't come off as a mere imitation.

Woe opens with a very minimal beat and guest vocals by recent collaborator GIVV, but it only takes a few moments before the sound turns to a more progressive hip hop.  While there is certainly more vocal track on this album than his previous works (minus GIVV's album of course), NAH does a great job at mixing in instrumental tracks that keep the sound fresh and exciting.  Woe does a great job at balancing the continuity of sound with the changing of styles.  tracks like "born" are hyper paced and filled with aggressive tension, while others, like "lonely, decelerating", are bass heavy exercises in electronic.  The only fault I can give this album is the vocal performance on "they out".

If you like Death Grips or Kanye's production on the most recent Pusha T single, then give this album a try at his bandcamp Here.

Mincemeat or Tenspeed- Waiting for Surfin' Bird (2014)

Sitting someplace between Mutwawa and Wizards Of, Mincemeat or Tenspeed's album is an aggressive, electronic monster.  The album uses "rhythmic melodic compositions made from feedback loops, in order to fake music that would more aptly be made using synths and sequencers."  DECOHERENCE Records fittingly labeled the genre as 'no rave', a pretty accurate genre tag for an album that sounds as if Holy Fuck made an EDM album.

One strength this album has is its ability to make otherwise bad quality sounds feel natural.  The end of "Normal Techno Jam" has a Casio-style drum sound that feels either circuit bent or overdriven.  Somehow, the implementation of this sound works perfect.

If you were a fan of the Fuck Buttons, I would recommend taking some time to check this album out.  This album comes out May 6th, so look for an update here once the Bandcamp becomes available.  In the meantime, stream one track Here.

Wizard Of- Face/Skeleton (2014)

Wizard Of, aka Bob McCully, made the first album I have really enjoyed from this year.  Face/ Skeleton reminds me of Fuck Buttons' Tarot Sport at times because of its aggressive sound is much more in-your-face than most electronic music.  The synthesizers on it have a very analog sound, similar, like those on Tycho's Dive (though I imagine that they are done by something like a microkorg that is emulating analog).

Face/ Skeleton consists of two multi-part tracks, one for each cassette side.  The tracks within each side utilize similar samples and emphasize a mutating repetition within each other.  Initially, I preferred "Face", but now I am on the fence.  Overall, "Face I" and "Face II" are a great opener, but by "Face III" things seem a little stagnate, at least for that track.  With Skeleton though, the samples really benefit from the time and growth, making for a stronger overall side (also, the vocal samples reminded me of Blockhead at times).

I was very surprised to find out that this was a cassette release.  Maybe it is because when I think of cassettes I think of vaporwave, drone, and all around less accessible music, I'm not sure.  This album is something that should be pressed though, as it definitely left a good impression on me.

While the cassette is all sold out now, you can still listen to the album and buy a digital copy Here.  Also, click Here to check out the Wizards Of bandcamp.
Finally, the album can be downloaded with This.

Giuseppe Ielasi & Kassel Jaeger- Parallel // Grayscale (2013)

Over the past couple weeks, Parallel // Grayscale has become a late-night favorite of mine.  Some people get ready for bed by drinking warm milk and read, others re-watch the same DVD from their collection, but for me this album has become a great way to unwind.

Maybe it is because the doctor has me taking opiates very 4-6 hours until this kidney stone passes, but Ielasi and Jaeger have a way of making even the softest of sounds feel intimate.  While the first few minutes of 'Parallel' may only focus on minor sound changes, the end result is still a lush, texture filled opening to the almost 20 minute track.

'Parallel' feels almost reserved in its sound, as though there is more to it that isn't being shown but hidden beneath it.  When the song shifts gears around the 8 minute mark, a burst of sound quickly escapes, only to be quickly tamed and restrained back into the quiet ambience it was making before.  After this point in the track, there is a constant churning as if the sound is going to eventually boil over, but it never quite does.  While the sounds presented on the surface are soothing, beneath is a tension by how they are arranged which results in feelings of anxiousness and anticipation amidst the ambaince for the listener.

The start of 'Grayscale' is why I really enjoy this album at night. The crackle of tape with the occasional echoey bloop; this is a sound that is overwhelmingly calm and it comes after the long buildup 'Parallel' creates before it.  The loops in 'Grayscale' stack up nicely, in a way that one could easily not notice the numerous layer of loops unless paying close attention.  The electric guitar samples at 12:30 feel evanescent with their short bursts and delay effects, and it's not until the loops start fading out that you realize that the album is already almost over.

Having heard Ielasi's other 2013 outputs (solo album Rhetorical Islands and collaboration with Andrew Pekler Holiday for Sampler), I can safely say this is his strongest work of 2013.  Go into this album expecting long, quiet ambient tracks, and you will come out of it with a fond appreciation for the duo's work.

The two tracks can be heard Here, and the album can be purchased Here.