Anticon

Maniac Meat

admin — Sat, 19 Jun 2010 00:00:00 +0000

Sometimes I can send off a record review in ten minutes. Excited by the tunes in my headphones or emanating from my computer’s tinny speakers, my fingers fly across the keys with artistic inspiration. Other times, it takes time and a few repeat spins of the disc to let the music settle into my brain. Tobacco’s Maniac Meat is one such record.

You could ask, what’s happening here? A better question is, what isn’t? So many sounds merge on this album that it can be difficult to discern how these arrangements were conceived, let alone constructed. Tobacco, who is also the frontman of Pittsburgh’s experimental psychedelic outfit Black Moth Super Rainbow, is known as much for his borderline hip-hop beats as he is for his solo analog-based electronic collages. Rolling Stone called his first album “stoner-rock.” Since I don’t indulge, you’ll have to find out about this one yourself.

The entirety of Maniac Meat sounds like a cross between an underwater concert, some synthed-out Dosh, and a few Daft Punk samples. “Creepy Phone Calls” is a dance hit of epic proportion. Less distortion and more danceable synth, the track is lyric-less but soulful. “New Juices From the Hot Tub Freaks” brings some serious rock to the mix with heavy guitars—or at least, a vocoder sample that sounds exactly like them.

The album’s two tracks featuring guest instrumentation or vocals, “Fresh Hex” and “Grape Aerosmith” sound like Beck songs for a reason. Mr. Hansen, auteur of noise, makes a guest appearance, though according to Tobacco, the two never met during their collaboration. The wonders of lo-fi genius at work in our modern world.

BMSR may be SXSW darlings, but Tobacco also gets away with doing few interviews. I like privacy in the age of oversharing. I like artistic merit in a time of paparazzi-based acclaim. And I like anyone who uses a tape machine when a Mac with some audio software will do. Because for some of us, it won’t.

Written by: Brittany Shoot, June 18th 2010

Terradactyl

admin — Fri, 23 Oct 2009 23:49:00 +0000

By Serengeti & Polyphonic

Anticon

Playing in subway stations wasn’t that fun for us
At first it was, but now it’s getting old
First it was, but now I’m getting cold
- “Playing in Subway Stations”

I owe my fascination, adoration, and patronage of Anticon artists to my friend Nick. The most taciturn person I know, he is also the reason I became vegan. Not particularly conversant, he may not even know either of these things, though his quiet example has been profound and influential. Anytime a new artist emerges from this collectively-owned Bay Area record label, thanks to the Nickness, I am inclined to give it a spin. More often than not, I greatly enjoy my selection.

Serengeti and Polyphonic are no exception. S&P—David Cohn and Will Freyman—don’t really sound like other hip-hop, and generally speaking, this can be said of any genre-bending Anticon artist. Falling into what seems to be the “avanthop” genre—one loosely composed of elements from jazz, hip-hop, and electronica—Terradactyl is a fabulously disorienting yet cohesive album. It isn’t for everyone, but what great art really is? Half-rapping, half-meandering conversations fill the space between samples and disjointed melodies. Song topics include: modes of transportation (buses, trains, legs), thievery, negativity, hustling, Jesus, and one’s own patriotism (or lack thereof). Stateside, they’re touring through the end of October. European dates for 2010 will be announced soon.

I used to think it was stupid to believe in dinosaurs—not because I think the Bible trumps science, just because I think dinosaurs are a slightly annoying fixation in an age of modernity. Nevertheless, I’m quite taken with Terradactyl, even if it lacks the letter “p.” Maybe a Mesozoic misspelling was just what I needed to be converted.

Written by: Brittany Shoot, October 23rd 2009

Book of Bad Breaks

admin — Wed, 18 Apr 2007 19:16:00 +0000

By Thee More Shallows

Anticon

A wildly irreverent trip into your own mind is all this entire review can say about both the band and their album, [Book of Bad Breaks](http://www.amazon.com/gp/product/B000O5AYD4?ie=UTF8&tag=feminrevie-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B000O5AYD4). With driving rhythms and a smoky, erotic lead singer, Thee More Shallows has a sound unique to any I have ever experienced. In their song “Night at the Knight School,” you are taking on a strange head-trip only reminiscent of Pink Floyd. They also take the time out to include verbal riffs amongst the members so you actually feel like you are there at the recording session.

“Fly Paper,” a song aptly named for the feel you receive when you listen, is haunting and yet alive. You get swept into the sway of the downbeats with each squeal of their majestic guitar working. Thee More Shallows presents genre-defying music that is talented, majestic and ethereally addictive. I give this one a definite thumbs up and a must buy!!

Written by: Karen Morris, April 18th 2007