The Now Now // Gorillaz

THE NOW NOW

 

Blue Velvet (Contributing Editor)

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JUNE 2018

limerent death > the dillinger escape plan

the saboteur’s mirror > busdriver

my ship > rahsaan roland kirk

__ > five star hotel & yeongrak

vinushka > dir en grey

the season comes > 妹尾武

blood-stained beast > tsukasa saitoh

omalla ajalla > alamaailman vasarat

the book > vader

embraceable you > andy williams

prelude & fugue in c major no. 1, bwv 846: 1. prelude > j.s. bach

drifting remains > gorguts

kingdom of doom > the good, the bad & the queen

vendetta > fantômas

one > ghostface killah

mass no. 10 in c major, hob. xxii:9 “in tempore belli”: via > franz haydn

venin intemporel rouille universelle satan > diapsiquir

infinite sun > car bomb

in my element > apollo brown & locksmith

カリソメ乙女 > 椎名林檎

fire flies > gorillaz

MAY 2018

innocent eye, crystal see > eyvind kang

khabiel > koby israelite

hello!!!!! > elzhi

road to ryhad > the spy from cairo

the ultracheese > arctic monkeys

la prima compagnia > sergio endrigo

bend in the road > chris cornell

moribiyassa > kaba blon

take control > majid jordan

forever > julianna barwick

circus ’68 ’69 > charlie haden

i love you when you scream > snakepiss

les forges > gris

drain counter > lil ugly mane

psalms of repentance: no. 2 > alfred schnittke

marinatin’ > ras kass

bugman > blur

saragina rumba > 17 hippies

together forever > djivan gasparyan

the battle > the matthew herbert big band

the scarlet whore > toby driver

sonata 1 in d major: iv. adagio > arcangelo corelli

circumradiant dawn > dead can dance

APRIL 2018

snake mountain blues > townes van zandt

oratorio in grey > discordance axis

father ariandel & sister friede > 北村友香

ecce venit / psalm 94 > vox clamantis

i guess that’s why they make safety pins > the taste of blood

the black rose > yellow then blue

incontro a… > armando trovajoli

čik u oko > kawasaki 3p

ev’rybody has the right to be wrong > frank sinatra

blimp/sky > mendi + keith obadike

love scene > balanescu quartet

new jersey vs. valhalla > orchid

a bastard’s waltz > people like us & ergo phizmiz

taw^ – tene > joanne shenandoah

guine-cabral > super mama djombo

downtown la, 1937 > harald kloser

bonnie at morn > marcin przybyłowicz

fekete mezők > thy catafalque

dodo jr. > jonas the plugexpert

永遠・・・ > 布施明

tema amore beat > luis bacalov

an cnoc rua > automatic tasty

la forza del destino > dead combo

MARCH 2018

my queen is harriet tubman > sons of kemet

x > au-dessus

deconstruction > devin townsend project

il primo bacio > paolo buonvino

667 a step ahead of the devil > mombu

diniel > brian marsella trio

it’s all well above wonder anyway > grace cathedral park

face of regression > arkaik

1 > bohren & der club of gore

red bathroom floor > cremation lily

132 version > augustus pablo

waves > optiganally yours

the black tomato part 2 > øresund space collective

get your love back > the three degrees

vision adjustment to another wavelength > kayo dot

the kindness of strangers > marissa nadler

lone runner > dirty beaches

Ты Услышишь.. > 7000$

east of the sun > si zentner

that’s all > ray brown trio

going up > coil

Disco Volante // Mr. Bungle

Disco Volante

Mr. Bungle

1995, Warner Bros

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An album unlike any other, Disco Volante blends a dizzyingly vast array of genres together to create a heady musical smoothie.

 

To try and pigeonhole the hugely experimental, fervently uncompromising and downright bizarre music to be discovered on the second studio album by Mr. Bungle would be an exercise in futility, for Disco Volante swerves from one sonic avenue to the next, seemingly without regard for what precedes it or what shall follow. Carry Stress In The Jaw perhaps exemplifies this best – a mere five seconds of free jazz soon gives way to anxiety-ridden synths and jittery drums, before all hell breaks loose in the form of breakneck guitar riffs and some moments of pure vocal mania – and that’s only in the first two minutes.

 

That’s not to say that every track follows this formula; moments like Chemical Marriage demonstrate the band’s ability to toy with a singular musical idea while still retaining all the best elements of their off-kilter eccentricities. And beneath the consonant instrumentation of Backstrokin’ lurks some of vocalist and multi-instrumentalist Mike Patton’s signature yelps and screams, demonstrating the need to scratch away at the exterior of many of the tracks here.

 

One of the most terrifyingly surreal moments comes in the form of Desert Search For Techno Allah, a name that, oddly enough, gives a fairly accurate indication of the music within. One might consider it as the soundtrack for an underground rave in an abandoned warehouse in the Middle East. If this sounds absurd – well, it is, but it’s also a genuinely compelling listen, full of thumping four-to-the-floor bass hits and squelchy synths.

 

Lyrically, the album is characteristically dark. Violenza Domestica sounds as though it should accompany an Italian Giallo film, and the heavily enunciated vocals to be found towards the end of the song are horrifically jarring. Album opener Everyone I Went To High School With Is Dead features nightmarish, ritualistic chanting that reads like a cathartic dirge about social exclusion of years gone by.

 

Given the sheer volume of musical ideas that the band play with, it’s inevitable that not all prove to be as effective as others. Phlegmatics feels like an unfinished demo in comparison to the fully fleshed-out songs that surround it, and Platypus falls flat due to a lack of new ideas or gripping musical themes. There’s also a streak of puerile humour that pervades throughout the twelve tracks here that can feel unnecessary, and sometimes more disruptive than amusing.

 

The two longest tracks are also some of the most interesting. 10-minute epic The Bends is a mostly instrumental suite with an aquatic theme, that feels at once suffocating, dreamy and doomed. It’s incredibly visual, and there’s a palpable sense of narrative, despite the lack of many discernible lyrics. If there was ever a musical equivalent to the work of David Lynch, this song would be it. Merry Go Bye Bye serves as the album’s farewell, and the haunting nursery rhyme it at first resembles soon becomes a death metal screamfest. After this, though, the band reprises the melody from the start of the track, and prove that they can be tender when they want to be.

 

The fact that the group elected to include five and a half minutes of studio antics and general tomfoolery to round out the album provides the listener with an interesting element of humanness that conflicts with the totally abnormal music that occupies the previous hour of Disco Volante. It acts as a reminder of the talent within the band, and the art of sounding so close to the edge without ever losing control.

 

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9/10

Blue Velvet (Contributing Editor)