Death Grips - Year of the Snitch (Third World/Harvest, 2018)

Exmilitary and The Money Store are two A1 albums. Then No Love Deep Web came which was a little more hit and miss, and Government Plates followed which was okay but still more miss than hit. The first disc of The Powers That B, Niggas on the Moon, dropped and it was mostly blah. About that point I checked out for good. It's roughly the same time they went silent and worked on the second disc of TPTB, Jenny Death, for about a year. One day I saw they released a cut from that disc, "Inanimate Sensation", and it rocked my face off. I was back. DxG was back. Jenny Death was released and by far the best thing they'd done since the Exmilitary/Money Store days. Since then they've only gotten more erratic - a couple of instrumental EPs, a one-off with Les Claypool, a 20+ minute "megamix". The next album they released in and amongst those, Bottomless Pit, was fine, not terribly adventurous but not bad. Year of the Snitch falls into that category too and kind of feels like a sister album to Bottomless Pit in some ways. Musically it is quite similar to the "Steroids" megamix, very heavy on the electro and less concerned with hip hop or pop stylings from the past ("Hacker" seems a million years in the past now). There's some good tracks on here, most of them already released as singles - "Streaky", "Shitshow", "Black Paint", "Hahaha". There's a few gibberish tracks on here like "Death Grips is Online", "Little Richard" and "Dilemma". Again kinda like Bottomless Pit which was the same deal. Occasional brilliance, but not consistent on the level they used to deliver. I'll keep staying tuned to what comes next though.

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Nachtmystium/Leviathan - In the Valley of Death, Where Black Metal is King: An Homage to the Roots (Ascension Monuments Media, 2018)

What the fuck is that title. Okay I get the first part is a Judas Iscariot tribute, but did we really need "an homage to the roots" in there? Hey wouldn't it be funny if these were actually covers of the band The Roots? Anyway. This album was supposed to come out 10 years ago, but it was blocked by the bands' respective labels. Now I guess they've figured out a way, or Blake Judd needs money for drugs so he's figured out a way, to put this out. The Bandcamp version has 8 tracks, 5 from Nachtmystium and 3 from Leviathan, but I've seen a 10-track tracklisting elsewhere. On the version I have, we have Nachtmystium covering Judas Iscariot, Ildjarn (twice), Von and Burzum. Leviathan tackles Ildjarn (twice) and Von once. I seem to be missing Leviathan's Judas Iscariot cover ("Where the Winter Beats Incessant") and one of Nachtmystium's Von covers ("Von"). Weird. Wonder if there were some licensing issues or something. All four Ildjar...

Sunburned Hand of the Man - Get Wet with the Animal (Manhand, 2018)

I keep up with Sunburned only intermittently these days, they seem to be taking a more rock-ist approach lately. Like this one. Each track is about 4-5 minutes of pretty ramshackle, jammy, funky, boogie rock...almost spoiled by the throaty, beery vocals shouted over the top of each one of these tunes with nonsensical platitudes. I almost shut it off after a couple tracks but I stuck it out and kinda came around on some level. I was oddly reminded of My War era Black Flag sludge punk. The band sez "these Holy Grail fueled recordings are a mix of iphone and zoom recordings run through garageband, reaper and some plug-ins. We're still working on the much more listener-friendly Black Dirt session..." and point taken, listener friendly this ain't.

Jan Jelinek - Zwischen (Faitiche, 2018)

Last year's reissue of Jan Jelinek's Loop-Finding-Jazz-Records put him on his radar for me forever. This is an shortened version of a radio play he put out called Zwischen. Jelinek sources interview clips from a pretty diverse cast - John Cage, Karlheinz Stockhausen, Slajov Zizek, Lady Gaga, Yoko Ono, Marcel Duchamp - and extracts all the pauses, silences, gaps, ums, ehs, ahs, hahas, etc from their answers. So you get track titles like "Yoko Ono, you were born into a rich, aristocratic family in Tokyo. Do you see that in yourself?" and "Karlheinz Stockhausen, which difficulties are involved in conserving electronic music on magnetic tape?". On top of that the audio cues present trigger synthesizers creating undercurrents of sound amidst the quasi-verbal utterances. It's a cool concept, interesting listen - all the responses have different moods. Zizek's is particularly stressed as he seems to be rushing through an explanation of something important ...

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