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- A.G. Cook, GFOTY, Danny L. Harle, Lil Data, Nu New Edition, Kane West (2014) • DJ Mix genuinely the best dj mix ive ever heard. in awe every single time i hear it. every single time; cutting open the skull; removing the brain; washing it in bleach and Red Bull Brand Energy Drink until it shines a metallic white; inject it with pure dopamine; brand it with Red Bull’s logo; insert it back into the skull and stitch it back together with iPhone charger cables. PC MUSIC is, if not the best, then the most interesting label to come out of the last decade, and this mix summarizes (almost) everything that made it what it was. it is Perfectly Plastic and its inauthenticity is routinely pierced by self-damnation. the music, without saying anything of substance at all, says everything it needs to say, and it does so with the exact intent labelmaker AG Cook intends in a clean, concise hour that doesn’t waste a single second, even on its lesser known labelmates. if that isn’t the mark of an incredible artist, i’d find it hard to tell you what is. All Manner Of Hats!
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1d ago

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Top Recs from @555

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- E+E / Elysia Crampton (2013) • Album an epic mass of sound collage. the liminality of music; of everyday sounds takes on this sort of primal urgency, in which faded memories of familiar commercials both Latin and American; of music through a broken pair of headphones; of bustling city traffic break through the psyche with the strength of a saturated kick drum. when the brutish intensity of it all slaps you sideways, you see the childlike fragility of the memory still remaining. the anonymous female voice (and it is a HELL of a voice. don’t get it twisted, for all the nothingword vomit i’m spewing up this album’s ass, it sounds seriously addictive and seriously beautiful) recontextualizing pop hits over city ambience, rainfall, crackling firewood. Drake lyrics become mournful, John Mayer cranks up the longing to Number Eleven. it is anti-colonial, reinterpreting these sounds; displacing them, to create its unfamiliarity. yet in the bleakness there is warmth. Elysia Crampton has no regard and no time for Traditional Western Music Production, and THE LIGHT THAT YOU GAVE ME TO SEE YOU acts as a brash, rugged interrogation of the “why” and when The Light shines through, it takes on a new form: a tearful, solemn, busy question: “why?” coughed through the smoke of an exhaust pipe.
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