Vee Hua 華婷婷
Clipd Beaks
Oakland’s bringers of psych-jazz-drone are back! Freshly disconnected with the mostly obsolete Lovepump United, Clipd Beaks have just self-released WAKE, a six-track sampling of long-forgotten works they’ve recently dusted off for your listening pleasure. Album single, “All The Way Evil,” which you can download above, recalls both a nighttime drive through winding dark canyons and an intense oceanic quest filled with sea monsters. Sound appealing? Get into the zone and stream the entire album below!
Hanetration
We recently posted a stream of Hanetration’s Tenth Oar EP — four tracks of mind-portal-opening glitch-drone brilliance — and I’m going to call it now: HANETRATION IS ONE TO WATCH FOR.
What I liked, to begin with, was his unassuming approach when contacting us. One might even go so far as saying that Hanetration probably knows he has something special to offer, so modest and simple his initiatory email was. No sign of vanity and No bells and whistles, save for three quotes from sympathetic blogs that respected his work.
“Can I point you in the direction of a download-only EP I’ve put together?” he asked. “You can find it at http://hanetration.bandcamp.com. Hope you enjoy it.”
He has continued the easy correspondence by recently bringing to our atention a mix he crafted exclusively for the blog Homeless Mind Theory. The mix is fairly spastic and wide-reaching, and samples from records which influenced his creation of the Tenth Oar EP. The influences are vast and global; they seem to link many continents and countries at once. Opener “Hana” by Asa-Chang & Junray is a mix of glitched-out Japanese mutterings with watery Indian percussion, and Hanetration’s brief description of the mix sheds humorous and fascinating light upon its diversity:
“I focused on the records I was playing around the time I made the Tenth Oar EP, and which may have influenced its sound. It’s effectively a bunch of drones, glitches and sound collages, but there’s real variation in there; some amazing textures, tones, rhythms and melodies. Plus a Malian kora/cello duet, a bagpipe solo and an improvisation by a five-year-old elephant.”
Saelyx Finna
