Our Best Selves is the lead single from a forthcoming six-track EP from Canadian experimental producer yehno, and will be the first release on a new label, Collection Disques Durs. Visceral and hard-hitting, there’s also an incredible amount of nuance and subtlety here. One the one hand, yes, I feel on the verge of a panic attack while listening to it, but on the other, it’s actually warm and reassuring, like watching all your worldly possessions burn while realising you’re probably better off without them. I imagine.
ttypes is the solo project of Michigan-based songwriter Tim Krauss whose music ranges from ambient instrumental, to piano pop, rock, electronic pop and various other styles. His latest – as the title suggests – is an ode to Hollywood icon, (former) cocaine enthusiast and everyone’s favourite irreverent cyborg, Robert Downey Jr.. Not that you’d necessarily be able to tell from the record itself which is a frantic rush of syrupy bleeps and washed out vocals, but check out the video for one of the purest hits of RDJ you’re likely to find outside of a Marvel set.
Lost Girls is a collaboration between Jenny Hval and Håvard Volden. Despite having worked together for close to a decade, they announced their debut album Menneskekollektivet (which roughly translates to “human collective’) only last week, along with this 12 minute epic which starts life as a contemplative, spoken-word piece before progressing through lumbering rhythms and increasingly weird, chattering synth lines. I’ve loved pretty much everything Hval has released previously, especially 2019’s incredible The Practise of Love, and everything about Menneskekollektivet suggests that trend will continue.
JPEGMAFIA produces like he’s channel surfing at a billion miles an hour. The sheer amount of influences and styles packed into relatively short tracks can at times be a little overwhelming, but when it works, it’s some of the most creatively inspired and unpredictable music out there. SUPER TUESDAY is built around a warping, string-led ballroom sample – like The Caretaker doing woozy hip-hop – and is the last track on his new EP (confusingly titled EP!) that packs a frankly ridiculous amount of ideas into its 26 minute running time.
Quinton Barnes is just absolutely fucking brilliant. Not only did he put out one of our favourite albums of the year with Aarupa, he recently announced a new LP As A Motherfucker which will be landing in January to buoy us all when we’re skint and miserable after one of the weirdest festive periods of our lives. What a dude. Switch is stripped-back but punchy as hell replete with eerie pads and crisp drums, and further reinforces the fact that he’s a thoughtful, outrageously talented artist surely destined for greatness.
Varsity Star is a Brooklyn-based electronic musician who grew up in the suburbs of Boston, but relocated to Berlin after a “biblical flea infestation” made his apartment uninhabitable. His remix of Coolgirl’s Gaussian Blur amplifies some of the more retro-leaning electronic elements of the original, upping the tempo and adding furious, Squarepusher-esque drums to run alongside the neon synth lines. By turns franticly glitchy and soothingly warm, it’s an assured reimagining of what was already a strong record.
Under Me is the latest single from London-based experimental pop artist Rebecca Phillips, who combines Arca-esque production with striking vocals that swerve between hushed background textures and screaming excess. There’s a fine balance of delicate melodics and punishing violence at play here, and it all works extremely well.
The big news today is: commas are back. Specifically; commas in album titles, which I am bang into. Earlier I posted a track from Pale Honey’s Some Time, Alone, and now I’m getting all excited about Infinity Knives new album Dear, Sudan, which is so weirdly exquisite I’m not even sure how to describe it. In The Mouth Of Sadness is heavy on both reverb and emotion, and transitions from a gushing electro pop banger into a gently tinkling jazz ballad. And it’s probably one of the more ‘conservative’ records on there.
This is taken from Call Super’s excellent new album Every Mouth Teeth Missing. I’ve always found Call Super’s music vaguely intimidating, for reasons I’m not entirely clear about, but whatever the reasons might be this is the first album I’ve got properly stuck into and I’m very glad I did. Pleasure For Pleasure is like two different tracks hammered together: the glitchy, video game-evoking bounce of the main rhythm section and the glassy pads that are occasionally permitted to break through more and more frequently until it all gels together into a satisfying mess of phased drums and white noise.
Lots of you will already be very familiar with The Caretaker and this record – especially as it came out in its final form more than a year ago, and much of it was originally recorded at least a decade before that. If so, please forgive me for delving back into the recent and not so recent past, which is, after all, exactly what Everywhere At The End Of Time is all about.
Probably the best-known alias of Leyland James Kirby, The Caretaker is someone I’ve always thought I would enjoy, but never really gave the proper time and attention – due at least in part to the fact that none of his work ever appears on streaming services. Recently this 6-hour+ epic has become a trend of TikTok, a Quietus article about which made me finally commit an extended listening session.
Everywhere… was released in instalments, each portion of the release representing a different stage of the progression of Alzheimer’s disease until – with the final instalment in 2019 – The Caretaker character died and the moniker was retired. The Caretaker project was initially inspired by the haunted ballroom scene in The Shining, and like many of his albums – and often revisiting and sampling his earlier work – Everywhere… is mainly comprised of treated and manipulated samples of 1930s ballroom recordings, which disintegrate further and more violently into chaos as the album progresses, representing the various stages of memory decline brought about by the disease.
The result is utterly haunting, harrowing, beautiful and existential, and one of the most profound – if at times extremely challenging – experiences you can have listening to music. Will I be making a TikTok video to share my experience? I shall not.