Philadelphia-based artist and activist Moor Mother leaves her indelible mark on CTM x VF’s Fear Anger Love series with a thornily tortuous dispatch from the frontline of American race politics.
Collecting 10 previously unheard poems and soundscapes including collaborations with Geng, Mental Jewelery and Black Quantum Futurism, the results are no doubt a formidable follow-up to Moor Mother’s mad acclaimed Fetish Bones  LP, pursuing that record’s themes with an arguably more abstract, layered aesthetic connoting an urgent sense of confusion without any sort of clear resolution.
The Motionless Present opens the record with a knot of panic-inducing rhythmic noise and blues holler, before PTP Geng renders Moor Mother at her widest and most haunting in the strikingly weightless, beat-up sound design dimensions of This Week, and she then spirals off into splashing flashcore-meets-tribal chaos in Earthquake Hymn and the curdled, arrhythmic fizz of Day Rules.
Detached and processed field recordings open up 4 Oakland and get suppressed into the cold clam and declamations of privilege in A Way Out, with 700 Bliss joining in on the detached wormhole of 29th and a brace of collaborators help to frame, harness Moor Mother’s angry observations on “the disconnect between humanity and injustice”, with Mental Jewelry aiding on the cyber-swampy crush of Remember and a dread dub killer named Big Crime, while the side culminates in the decidedly discomfiting use of a notorious YouTube video of an unwarranted arrest, here smothered in viscous electronic noise.
Co La makes smartly kerned and trimmed co-production contributions to the charmingly upbeat and frothy electronic expressions of Tokyo’s Wong and Minekawa. RIYL Visible Cloaks, Motion Graphics or Deerhoof
“The sounds of Dustin Wong & Takako Minekawa are a coalescence of the complexities of life, with the sheer joy of imaginative creation. Are Euphoria continues to dive deeper into the dreamlike technicolor tapestries their songs have always explored, blossoming forward with each cycle of loops. Completely characteristic of their style, Wong and Minekawa achieve a density of textures, timbres, beats, and harmonies while remaining totally weightless, suspended in the air.
Music in Japanese is written in two words, sound and enjoyment. Counterpoint, dissonance, odd time signatures - when all these things accumulate and coalesce in interesting and harmonious ways, it is like hearing or seeing an idyllic perception of Humanity. Like a curving line that streams up in to the sky, like a flock of birds or a school of fish, the directions and shapes change in seemingly random ways, yet create patterns that dance and seduce consciousness.
Every beat, melody, is a unique metaphor to each individual. The variety of peoples, cultures, religions, thoughts, hobbies, races, these differences molten together, the differences are the elements needed in creating harmony. The same sound on top of the same sound doesn't form harmonies. Harmony is created by differences. Depending on the desires and sentiments that go into sound, the music changes, the power of the individual's metaphor and imagination can take the listener to profound distances. Each person's impression, are all unique and completely limitless.
Takako Minekawa and Dustin Wong, sought out Co La (Matthew Papich) to co-produce the album, due to his unique ability to place sounds and build compositions, which is leading a new type of expression in music. His surreal and conceptual approach made for a perfect combination with worlds created by the songs on Are Euphoria.
Based in Tokyo Japan, Wong and Minekawa are part of a growing DIY community, frequently performing in smaller spaces such as Nanahari, Fuchi-kuchi, and Ochiai Soup. Their artistic focus is to create the unexpected. It is a scene that encourages this adventurousness. Wong and Minekawa use their considerable technical skill to create the psychedelic, surreal, and conceptual, and with dexterity and inventiveness. While Minekawa still contributes to J-Pop releases and Wong is still connected to his Baltimore roots, their joyous collaboration is as delightful and challenging as it is innovative.”
The Following Mountain is the newest solo album by experimental folk artist, singer, and multi-instrumentalist Sam Amidon.
"Created with producer Leo Abrahams (Brian Eno, Regina Spektor) and Amidon’s frequent collaborator Shahzad Ismaily, it represents a new approach for Amidon, who shifts here from his previous norm of re-working traditional folk songs and presents nine wholly original compositions, with some lyrics drawing on traditional sources.
The album features a rare guest appearance by drummer Milford Graves, known initially for his work in the 1960s with free jazz legends Albert Ayler and Sonny Sharrock."
Fr3sh out of Nanjing, China, Dirty K wrestles with the dichotomy between online and IRL representations of his waking life with Exsciccation - meaning ‘the complete removal of moisture, to a state of absolute dryness” - for the steadily expanding Genome 6.66 Mpb cause.
Exsciccation (Intro) sets epic, widescreen sci-fi dimensions for a high-tension club cuts, taking in the clash of c*nty stabs and hardstyle hooks in Pyroclasm and a fusion of traditional melodies with cyber-dancehall bounce in 龙拳 (Dirty K Remake), then scaling up the Kamixlo or Suicideyear-type trance-trap peak of Dispossessed, and handing over to Hyph11e and Yikii 内脏螺旋 for a pair of T2-in-the-club remixes.
With the widely-acclaimed Ess B EP under his belt already in 2017, Sega Bodega pumps the dance floor inflation of Nivea and the forward tilt of Bacardi for his brethren at Crazylegs.
Nivea wilds out with scribbly synth graffiti over testy drill rhythms and a demented vocal chop-up that will sound f**king mad in the dance when accompanied by strobes and body heat.
Bacardi, on the other hand, ramps the tempo to a sort of halfstep-to-quicktrot licked up with zippy zither and again that exacting, distinctive vocal processing. Think soca for hyper coloured UK club kids.
Rob and Lyric Hood lord the dance with Let The Church, firing off alternate versions and previously unreleased aces of their Floorpan zingers.
The belting breakbeat techno charge of Let The Church was formerly exclusive to their Inside Out mix for Mixmag and now comes fully prepped for club use by DJs and dancers. Made Up In My Mind brings it back to gospel roots in Victorious style, whilst Rob Hood convinces with the deep burn of He Can save You, and his daughter, Lyric Hood gives up a hard-working edit of Never Grow Old, mostly omitting the main refrain to focus purely on the groove and ripping chords.