Author Archives: jakemanson
Hey, so here’s another L.A. band we’ve been meaning to write about for awhile. Tartar Control claim to be God-fearing Mormons from Salt Lake City who try to spread religion through the power of snotty punk rock, but I’m not so sure. I think they might be actual snotty L.A. punk rockers who are just ripping off these guys. Oh, wait, their drummer is a robot? I take it all back then. They must be actual Mormons and their act is totally original! (Mormons love robots. It’s why their Chosen One is Mitt Romney.)
Anyway, Sean, Robert and Robot have a new album coming out in October called We Forgive You. You do? Thanks, Tartar Control! Glad that dead hooker is finally off our conscience.
While we wait for forgiveness, here’s a video for “Smoking Crack” off their first album, Holy Crap! Tartar Control forgives us, but who forgives Tartar Control?
For more Tartar Control, floss regularly and visit the band’s website.
If you heard a loud cheer in the distance on Monday intercut with what sounded like a skipping CD player, you heard the sound of Richard D. James’ fans rejoicing at the news that, for the first time in 13 years, there will be an official new album from Aphex Twin, the production alter ego through which the reclusive, mercurial man from Cornwall released some of the most game-changing electronic music of the ’90s.
True to form, James didn’t make the announcement with a simple press release. Instead, he launched a goddamn blimp with the Aphex Twin logo inside the zero of “2014” over London, then sent fans treasure-hunting into the deep web to uncover the new album’s title and track list. Turns out the new disc will be called Syro; no word yet on a release date. (If you, like us, have no idea how to get to the deep web, some kind soul mirrored the hidden Aphex Twin page here. But you might still need some help deciphering it.)
James has never really done anything conventional over the course of his 20-plus-year career. After first making a name for himself primarily as a producer of ambient music, James helped invent a twitchier, more experimental style of electronica that came to be known as “Intelligent Dance Music” or IDM (a term James himself has disavowed). His many forays into other new sounds and styles also influenced everything from glitch to breakbeat to drill ‘n’ bass. Just in terms of the sheer number of genres he helped shape or invent, he’s arguably the most influential electronic music artist since Kraftwerk.
Towards the end of the ’90s, James’s Aphex Twin releases began to take on a more satirical bent, especially when accompanied by a pair of groundbreaking videos he made with director Chris Cunningham. 1997’s “Come to Daddy” began, by James’s own account, as a death metal piss-take, before evolving into one of the first and most influential glitchcore tracks. Most of you have probably seen it before, but for those of you who haven’t, fair warning: It’s genuinely disturbing.
The creepy Richard James masks are a recurring motif in many Aphex Twin videos, as well as much of his album art (the cover of 1996’s Richard D. James being the most famous). For his second video with Chris Cunningham, 1999’s “Windowlicker,” they took an even more unsettling turn. (Most of you have seen this video, too, but another warning for those who haven’t: the first four minutes feature more N-bombs than Samuel L. Jackson’s entire filmography).
Prior to the announcement of Syro, the last proper Aphex Twin album was 2001’s Drukqs, a double album that alternated between pretty ambient works performed mostly on a computer-controlled piano and glitchier tracks featuring lots of intricate drum programming and melodic synths. He followed that up in 2003 with a remix compilation with the brilliantly cynical title 26 Mixes for Cash, and a 2005 collection of 42 acid house tracks released under the name Analord (he loves aliases; AFX, Polygon Window, GAK and Bradley Strider are among his others). Then, for the most part, he fell silent.
In the decade since, James has surfaced occasionally, at one point even claiming that he had six completed albums’ worth of Aphex Twin material. He’s rumored to be behind an anonymous glitch group called The Tuss, which released some music on James’s Rephlex label in 2007, but he’s never copped to it. He’s definitely behind an odd release earlier this year under the name Caustic Window—odd because the album, a relatively restrained foray into ambient techno and tech-house, was never really meant to be released. Recorded in 1994 but scrapped after just a test pressing, only a few vinyl copies of Caustic Window ever found their way into circulation, occasionally trading hands for thousands of dollars. Finally, some enterprising fans raised the necessary money to buy a copy and release it digitally (with James’s blessing) via a Kickstarter campaign this past June.
But all this activity aside, Syro is still the first official release of new Aphex Twin material in over a decade, which makes it a Very Big Deal in electronic music circles.
One other interesting thing to note about Richard James is that he’s really into hiding images inside his music—literally. At the end of track two of the Windowlicker EP, “Equation” (or as it’s officially titled, “ΔMi−1 = −αΣn=1NDi[n][Σj∈C[i]Fji[n − 1] +Fexti[n−1]]“), he conceals his trademark creepy grinning visage inside the last few seconds of the track’s spectrogram (which you can see here). And on the 2001 EP 2 Remixes by AFX, what sounds like a bunch of piercing, test-signal high frequencies is actually an SSTV transmission, which can be decoded with the appropriate software into what we’re told is an image of James sitting on a couch, along with some text listing all the software used to make the EP (although we couldn’t find this image online anywhere).
While we’re all anxiously awaiting the arrival of Syro, we’ll leave you with another of Aphex Twin’s greatest weird videos, from a 1995 EP called Donkey Rhubarb. Chris Cunningham did not direct this one, so it’s not quite as artful as “Windowlicker” and “Come to Daddy,” but the Teletubbie-like creatures cavorting around with James’s illustrated face (from the cover of his 1995 album I Care Because You Do) are pretty entertaining. Apparently he brought them out on tour for awhile and used them to mess with the audience before shows. He’s a prankster, that Richard D. James.
In fact, come to think of it, we probably shouldn’t believe he’s releasing a new Aphex Twin album until the day it actually arrives. There’s a good chance he could just be punking us. Or it’ll arrive, but it’ll be in binary code, or embedded in a microchip that can only be played via Apple IIc. Or maybe he’ll drop the only copies out of a blimp. Who knows?
Or, knowing Mr. James and his perverse sense of humor, maybe he’ll pull the ultimate prank on his audiophile fans and only release it via iTunes.
Meet our latest poll winners: Heiter bis Wolkig, self-described purveyors of “weird German cabaret bullshit.” And when it’s German bullshit, you better bring a plunger. That sausage and sauerkraut diet is murder on the ol’ gut pipes, if you catch my drift.
Anyway, we actually don’t know much about these guys, because they didn’t tell us much and nearly everything that’s been written online about them is in German. But hey, Google Translator to the rescue!
Apparently, Heiter bis Wolkig started way back in the ’80s as some kind of college theater art prank. A bunch of schoolmates from Cologne started making parody songs as part of a cabaret night and I guess things kinda just snowballed from there. They even had a sorta-hit in 1992 with a song called “Hey Rote Zora,” a parody of “Here Comes Pippi Longstocking.” If you speak German, I guess it’s fucking hysterical… although even for us non-Germans, the part where it turns into a snot-punk rave-up is pretty fun stuff.
In case you’re wondering, Heiter bis Wolkig either means “Partly Sunny” or “Partly Cloudy” or possibly both those things, because Germans are complicated.
Back in the day, Heiter bis Wolkig was a whole gang, but only two of them, Marco and Micha, have been crazy enough to keep at it into their forties. God bless ‘em, right? Seems like they revived Heiter bis Wolkig in 2012 after a long hiatus with a couple of releases: a “maxi-CD” called Pop Ma$$akker and a single called “Generation D.” No, I don’t know what a maxi-CD is, either. It’s either a CD that doubles as a tampon or it’s what we Americans call an EP or “extended play” release.
Anyway, Heiter bis Wolkig’s new stuff is still super-satirical, but it covers more ground genre-wise. Here they are making fun Lady Gaga-style electro-pop, while running around London in fat suits because I have no idea why:
Actually, maybe “satirical” isn’t the right word for lyrics like “Stupid Gaga music for fucking silly skanks.” How about we just call it put-down pop? That’s catchy, right?
Here they are making fun of pop-punk. Yeah, they’re shooting fish in barrels here, but there’s something ever so slightly off about the whole thing that makes it just downright delightful. Also, they throw in a “fucking motherfucker” madrigal interlude, just cuz. And they’re wearing white jumpsuits that say “ZOMBIEPROOF” on them. Because fans of pop-punk are a bunch of fucking zombies, I guess? I dunno, the fact that half of it makes no sense at all is what makes it work.
And finally, here’s the German version of their Lady Gaga parody, which honestly works even better than the English version. Side note: Back in my skate-punk days, I totally used to own that baseball cap.
So anyway, congrats on winning our poll, Heiter bis Wolkig! We look forward to you shitting on other forms of music us Americans love soon. Maybe dubstep? Dubstep is always a good target.
I don’t know about you, but some of my favorite weird music videos are the ones where you can quite tell if the band is kidding or not. When I first watched “Psychedelic Spaceship” from self-proclaimed “sassy synth master” Erleen Nada, I was sure the whole thing was a big goof. Now I’ve watched it like 10 times, because it’s awesome, and I can’t tell anymore. She’s like the sexy lovechild of Jan Terri and Fred Schneider. Is she really gonna take a ride on a psychedelic spaceship? Is she really infinity? I think maybe she is. Take me with you, Erleen!
For more from Erleen, who’s yet another weirdo from right here in Lost Anjealous, check out her website.
OK, this is one of the most batshit things we’ve posed in a long time, and you regular readers know I don’t make such claims lightly. Yesterday we were reading on Dangerous Minds (yeah, we spend way too much time on that blog) about a thing called “Asian Hitler chic,” where kids in Japan, Thailand and other parts of Asia dress up in Nazi garb because I guess they think it looks cool and because, hopefully, they have no idea that the Third Reich was one of the most evil, racist, genocidal empires in all of human history.
Anyway, the whole article is pretty mind-blowing, but for our purposes, the most mind-blowing part came at the end, when the author posted up this Mongolian music video of a dude crooning jazzy pop while dressed in full Gestapo drag, surrounded by swastika banners and comely video vixens. Wait for the part where it suddenly goes into some kind of digital hardcore breakdown and then a fucking Carpenters sample. It’s bonkers.
We tried really hard to dig up more info on the star of this thing, but so far we’ve come up empty. His name seems to be O. Ankhaa and the song is called “Gulug,” but that’s about as far as we’ve gotten. If anyone knows anything else about him, please share.