MINNY JONES // CRYBABY OF NEPTUNE // SHIRTLESS COPS

MINNY JONES: Agent of P.L.U.N.D.E.R.

Minny Jones, one half of sibling hard drive spinners Malt College, has released her own Malayan EP, with each of the four tracks being a visionary mashup of a shadow collaborator's song choices. Reaching diagonally from Malt's debut of industrial noise and field samples, Minny makes her music with samples of songs from the people's phones and libraries in a blind mashup challenge.

CRYBABY OF NEPTUNE: i think my friend grouyp made a new group

Adopting the galactic demonym of his cohort, Crybaby's first venture into the music of other planets ends in a display of lo-fi string shenanigans much more Martian in flavour. Deconstructing the original game-genre conceived for XOFY1 of assembled electronic, experimental, and ambient music made with toy guitars in the unique four-string Neptuning and domestic field samples, Crybaby plays with a toy guitar in standard tuning and a borrowed banjo for this EP. 

SHIRTLESS COPS: Rookie Blue
In the classic double B-side that led to Shirtless Cops's eventual fame and longstanding position within the Kingston Underground tradition, producer and electro-acoustic composer Irigan Utlo joins electric recorder virtuoso Ken Donaldson in a dysfunctional experiment including two falfisied song titles and a track played forward and backward simultaneously.

KINGSTON UNDERGROUND

What you've all been waiting for.

The high school band begins with a level of general equality and therefore openness—most participants are new to their instruments and thus share a general incompetence. But as skills develop at different paces, there emerges a process of stratification and with it legal structure: don’t mess up. But what happens to those who are left behind, who don’t get solos in the concerts and who begin skipping practice, eventually never to return? In Kingston, at least, they cultivate an alternate world, where incompetencies an asset and skill a deficit. Here collapse is martyrdom, ridiculous pseudonyms pass for names, and playing to an empty house is esoteric rather than embarrassing. - Richard Upton

The historic compilation of Kingston's DIY/punk scene. It took tireless effort, but eventually the rights were secured, the layout designed, the physicals made, and the album released. Its mere existence, however, pales in comparison to its less tangible impact on Kingston's underground arts community at large. An entire generation, including us here at Malaya + Her Neighbours, can trace our aesthetic and ethical routes directly back to KU's unique perspectives on art, and as such we are infinitely indebted to those original pioneers.

The compilation itself features 14 songs from 14 acts from "an alternate world," where art is totally unhindered by conventional industry objectives and standards. The scene was intricately interrelated, rich and diverse. The record is a historical document of a regional ethic and aesthetic - created by the disenfranchised, the disinterested, the rejectors, critics, holists, intelligentsia and punk kids - a legacy which is now represented in cities across Canada.

While having been released on Bandcamp some weeks ago already, we thought it'd be prudent to wait to release it via the blog, in order to compile a post of sufficient gravitas and substance, to reflect KU's historic nature. We were able to get a hold of Paul Herrema of Hieroglyphic Characters, Ritual Objects, Manikins Ten Feet High Representing the Beard of King Lear in the Storm, Musical Instruments as Tall as Men, Objects of Unknown Shape and Purpose, to comment on KU; we also have a review and the bootlegs from KU's reissue show, and an essay by an unknown artist, which provided the impetus for Tenant of Neptune's sophomore album, 'The Orange Light.' Please enjoy the fruits of our labour, and stay negi!

PAUL HERREMA INTERVIEW

On a warm day last month, blurring the line between spring and summer, we sat down with Paul Herrema of Hieroglyphic Characters, Ritual Objects, Manikins Ten Feet High Representing the Beard of King Lear in the Storm, Musical Instruments as Tall as Men, Objects of Unknown Shape and Purpose, to talk about his band, Kingston Underground, Kingston in general, the blog and future plans. While normally disinterested in conversing about this project, we offered him a case of beer as compensation. This is the result.

Malaya + Her Neighbours:  "Hey, Paul! How's it going?" 

Paul Herrema:  "Well, my back hurts. I must've slept on it funny or something. That's what happens when you get up there, little shit starts to go wrong and it persists for inordinate periods, colouring your day and shit. You spry little bastard, I bet you could do a backflip or something. Actually, don't print that, I bet your, what is it, PC culture wouldn't want me calling you 'little' or whatever, might be construed... fuck. Whatever. How are you, big guy? Wait..." 

M+HN:  [laughs] "I'm good, thanks. So, how did you react when you heard KU was being reissued?" 

PH:  "I thought, "why?" It's pretty dumb, it was just a bunch of kids making shit up, some of them could barely play their instruments. But, I do get a little nostalgic for it sometimes, it was fun back in the day. Maybe it's just that it was what happened, and that's what I have to look back on; like, posterity is something beyond your control and you should just accept how shit is or whatever. Yeah." 

M+HN:  "So how was it to be interviewed for the liner notes, if that's how you feel about KU?" 

PH:  "Well, you can see the censorship, obviously. Like, I still don't like this internet age shit, where you can't keep any secrets from anyone. Everything is right out there in the open for anyone to find, so I tried to keep some things to myself. What a dumb invention."  

M+HN:  "Where have you been living since Ritual Costumes became defunct? What have you done with your time?" 

PH:  "That band that I don't want you little poseurs sharing with everyone kept it together longer, so I was able to eat and shit. Then, when all is said and done, I guess I took a break, travelled around to different parts of the hardcore scene. Like, I went to DC for a bit, that place rips. Heavy duty. And also Ottawa has a great punk scene, the kids really stick it to that government-ass town. Anti-authoritarianism is really important to punk, and those kids know what the word is. I worked as an office clerk in both of those towns, trying to take the fuckin' system down from the inside out, but a man's also gotta eat, y'know." 

M+HN:  "Did you miss Kingston? And when did you decide to move back?" 

PH:  "When my son was born. The little bastard should get the best start in life, I figured. Kingston's safe, it's familiar, it's got good schools and a solid punk scene I guess. Although, that's hopefully a few years off [laughs]. Plus, absence makes the heart grow fonder, and so it goes, and I had been gone for a while." 

M+HN:  "What are the best and worst parts about Kingston?" 

PH:  "Fuckin', that there aren't more streets named after the Hip. Took 'em long enough to do the first one. Those fuckers are poets, man. True artists. The best part... Probably the K-Rock Centre. They throw some pretty wicked concerts there, gives the Fronts a good patch of ice to skate on, and stimulates the local economy. All around good shit." 

M+HN:  "Best and worst parts about Ritual Costumes?" 

PH:  "Don't even get me started on the name... the best shit we did was a show at Barfly in Montreal, probably back in the early '90s or something. We shredded, someone in the audience fell through the floor, wicked afterparty... we were on tour at the time with Sodomy [In the Jungle], and Chocolate Lab' was our gear tech/tour manager. A few of them disappeared before shit got really crazy." 

M+HN:  "Have you read much of our blog? Have you listened to any of the new bands, carrying on the KU tradition?" 

PH:  "I only checked it out because Rheia [Vasquez] had some shit posted there. God she's cool, if I hadn't met my wife in Ottawa, damn... Like I said before, you kids are funny, doing funny things. Keep on it, though. The world needs more punks. But, what the fuck is To & Fro, Forget? That shit isn't music, it's just noise. Don't print this shit." 

M+HN:  "Any future plans for Ritual Costumes? Or projects in general?" 

PH:  "We'll get back together when hell freezes over, which won't be any time soon, thanks to this global warming shit [laughs]. Maybe if I start a new band, and need somewhere to practice those songs [laughs]. Are we done here? I've gotta take my kid to Timbits hockey practice." 

M+HN:  "Sure, thanks for your time, Paul!" 

PH:  "Keep 'er soft, eh!"

THE REISSUE PARTY

The Artel. May 16, 2014, 9:00 PM. History was made.
An excerpt from the zine K-Hole:

"Sweat palpable, atmosphere thick with youthful exuberance, floating tiles creaking and bouncing under the thrashing force of teenage iconoclasts. The night crescendoed slowly, each act a ladder rung to punk rock heaven:  Tired I, room-filling and musty brooding; Freaky Lawsuits, post hardcore provocateurs; Rogan & Friends, in-jokes, parodic humour and KU covers; The Amphetamines, bringing the house down in an intellectual way. The Artel, always accommodating of outsider art, sent a homerun right out of left field...."

The night opened with spirit wind prophecy speakers Tired I (Liam Fenton and Elena Heighton) on guitar and synth, followed by Freaky Lawsuits, a new neocore combo featuring Simon Derome, Marcello Calligaris and Ryan Martin. Then came Rogan and Friends, a cheerful piano, saxophone and chorus pop party with Rogan Gowan-Day, Dylan Head, Taryn Emelia, Dylan Brown, Jan Tellerman and Joe Sismondo. Finally, Kingston Underground alumni the Amphetamines played an untamed set, opening an interdimensional gate that destroyed the Artel and everyone in it forever, leaving a massive pile of singed rubble at 205 Colborne and unleashing an army of unworldly music demons onto
Kingston.

Check out the live compilation of all four sets here, or download the Freaky Lawsuits and Amphetamines live albums off their bandcamps.


RHEIA VASQUEZ: Live @ Animal Hospital

An original member of Hertz tells some stories from the KU in the liner notes of her new album, Live @ Animal Hospital:

"[...]Whoever's idea it was to have a venue in the back room of a veterinary clinic I have no idea. I think I heard they had too much space or something so they wanted a way to use it that made money? Theres' no way it was worth it. Most of them were in the back rooms or whatever, I mean the people that came to my shows weren't the kind that should ever be let near dying pets --and trust me, they weren't-- but it was unnerving knowing they were there, knowing some three legged dog was laughing at my music two walls over. And you could hear them! Me and the rest of Hertz used to make a game out of guessing which animals we could identify making noise during our sets.

But that wasn't our venue. We just played there. It was the Labradors that were famous around those parts. It was weird how people saw the Kingston Underground like a baseball league. I did at least. Animal Hospital was the Labradors' "home" stage and when we played there, even if they weren't talking to us, it felt like an alliance. And when the Labradors fell apart the Marsupials became the main deal attraction. I guess that's why people don't go there anymore.

I got a look at the main area with the 'patients' or whatever a few times, the musicians and management would go back there and get hammered (or whatever else :/) before and after shows. The pets were in the middle, and birds were kept in one big cage on the left. An avery or something? I always wondered if that was right. By the end of it, a lot of people were afraid the AH people cared more about the music than the animals. And that was pretty fucked up, because they were treated like a gimmick to get people to come, to set them apart from other venues. I guess that's one of the reasons we stopped playing there. Or maybe they stopped treating it seriously because we (all) stopped.

The owners shifted a lot. One of the later ones was a real dick to the animals. He would let some of the dogs out into the mosh pits during the set... yeah, that was fun. Until Alena crushed a chihuahua's head. The worst part was that Noize Boize kept playing. They fucking kept playing while Alena screamed and Osmium was trying to push everyone away but you know how moshers are, they push back. I don't think most people in the pit knew, but Adrian and Thomas and them definitely did, because the stage was elevated. But they kept playing. I don't know if they were that desperate for a show or if they thought it was "punk" or "metal" or whatever. But that's not fucking punk man.

By the time the AH people got word of what was going on they shoved through and got the chihuahua -- no, the corpse of a chihuahua-- off the dance floor, and they went to go "heal' it or whatever because they were supposed to be vets. But that thing had been trampled, it looked fucking disgusting. I'm sure they wanted to make a big deal out of it and announce before the next set that the pup was fine, and they saved it in the back room, but there was no way. Maybe if they had rescued it right after Alena stepped on it it could have been okay but it was literally flat at that point, two-dimensional [...]"

SHIRTLESS COPS
Ken Donaldson and Irigan Utlo's seminal recorder project is finally being released in its entirety, from their first demo to their live records at McMahon and Avenue. Beginning with their original demo tape, A La Elmo Mod, M+HN will be posting a release from Shirtless' collection in each post.

The Orange Light // Mitosis

The philosophy behind KU is integral. In his essay, ヒップスタ examines an important tenet of KU origin, appropriated by Malaya, through a dialectic on a prominent example of symbolism. Among the arguments, one finds (not a eulogy, but) a mission statement for the future of Nupela Masalai.

Thoughts on Malayan Optimism

Popular art often transcends conspicuous consumption, being immortalized in the populist canon of historiologically relevant shapers of public consciousness. There are two scales for those interacting with consumer art--one, for those with a proclivity for popular art, and the other, for those whom do not. The former can be graduated between two extremes: those of the iconoclast, who rejects popular art in favour of their own surreptitious alternative; and the nerd, specifically the pop culture nerd, a term which has been publicly canonized as referencing those with substantial knowledge and passion for a subject. The other, the disengaged: the anhedonic, who is incapable of feeling pleasure, regardless of stimuli; and the aristocrat, who's brow is above the crass nature of populism. The inheritors of the historic collective of Kingston Underground are spectral moderates. They are knowledgeable, they are passionate, they are iconoclastic and apathetic. For the purposes of the host of this essay, one may refer to them as neighbours to, or participants of, Malaya (Malaya being the precepts of a social and communal artistic process, wherein "collapse is martyrdom, ridiculous pseudonyms pass for names, and playing to an empty house is esoteric rather than embarrassing"). Kingston Underground was as important to the development of the philosophy of these neighbours, as a specific pop culture piece is as relevant to understanding what makes Kingston Underground so great.

Pop culture pulp fiction (i.e. the inexorable, churning stream that is pop art), often considered vulgar, is inextricably tied to Malaya (despite the obvious irony). The eponymous example, Quentin Tarantino's cult classic Pulp Fiction, beautifully exemplifies the concept of the carrot in the dark--the knowledge that we are working towards something, although what that may be is hidden, perhaps behind the leather face of a briefcase. There are also examples to be drawn between South Park, Dragon Ball Z and Nupela Masalai's early 'Season One,' but these are for another discussion. The Orange Light, within the briefcase of Pulp Fiction, represents the primary motivation of pivotal characters; it is not obvious to the viewer what the significance is, merely that it is an object of wonder and of paramount value, representing something to strive for. The Orange Light of Kingston Underground likewise represents something to strive for, a beacon and clarion call around which the artistic dissidents of the Limestone City can rally and be illuminated.

Orange light is referenced twice within the collection of Kingston Underground: the first, by Fuck Off Bullshit! Collective, as "the night is orange, people are grey;" the second, by Praxis, Donald, Macdonald and Irigan, "orange light's on downstairs, looks like a stairway to hell."

The Orange Light is the new rose-tinted glasses--a mediating medium through which a sense of nostalgia purveys. It is a facile melancholy, however, as one lies by omission to themselves, recalling the good at the expense of the bad. The Orange Light reconciles this doublethinking, by creating a countercultural movement of the memory and of superego censorship. It is okay to only remember the good, because everything is good. This is not to say that the bad is not bad, but that, as Mackie says, "where's the risk [without the bad]?" For as the platitude goes: "suffering is good for the soul." In Pulp Fiction, The Orange Light represents something worth dying for; for FOB!C, the warm and optimistic glow of incandescent street lights; for PDM&I, parents and childhood memories and fears. It is motivation to carry out dangerous tasks, to stave off depression caused by mundanity, and to overcome one's anxieties. The utilization of bad, for the sake of good. The innocuous carrot over the stick of societal compliance (i.e. the 'legal structure' inherent in populist art forms ["don't mess up"]).

Nupela Masalai are among the inheritors of the legacy of Kingston Underground. At the time of this writing, in mere days a second core member of the group will emigrate Kingston for Montreal. Despite a Nupelan diaspora at 50%, the end is not nigh. Throughout the group's history, not all members have been simultaneously present for recording projects and live performances, and all said and done, the group is better for the diversity of lineups and instrumentation thus (intentionally or otherwise) precipitated. Who is to say that if the group can function on 50% of its total lineup (which is how the group began, and how its Kingston population looks now), that a second group cannot function independently, but not discrete from, the other? Kingston Underground was predicated in part upon scene participation--it takes a village (read: city) to make and support the arts. Two Nupelas, contributing to their collective catalogue of albums independently, embodies the techno primitivist communitarian principles of Kingston Underground. The handicap of distance will positively impact the art. There is the Nupelan tenet of guest artists, to which the distance will contribute new participants.

The Orange Light is a direct heirloom of Kingston Underground, incorporated into Malayan philosophy. That change and adversity work in direct favour of Malayan artistic endeavours. That the division of the whole creates parts greater than their sum. These parts, through their consensual handicap, facilitate the Kingston Underground and Malayan ethics of artistic creation. The mitosis of Nupela Masalai is an optimistic appraisal of what has been, as word has it, a depressing and straining hiatus and scenario, exacerbating the already dubious task of getting all members into one room at one time. The optimism of seeing in The Orange Light. Viewing it as mitosis, new life, as opposed to a harsh reality and new demons. The risk is implicit, the rewards worth striving for.


-- ヒップスタ


Sources: draws from Kingston Underground liner notes.

MALT COLLEGE // WHPPR//SNPPRS // CRYBABY OF VENUS

MALT COLLEGE: The Ammunition Factory

The Ammunition Factory is an experimental tube art work, based on sampling clips of "beautiful" non-musical noises and music people ignore in their daily lives to create a pop concept album. Chronicling the history of 21st century America, the war on terror, the war on drugs, and the aftermath. With clips ranging from ghosts slamming doors to singing bridges, the tale of the French fry country is brought to light. Featuring brother/sister combo Bedford Jones (EVAC) and Minny Jones.

WHPPR//SNPPRS: WHPPD//CRM
That crazy gang of kids is at it again! This time, partying at a playground because their houses are too far. Visitors must be entertained or awkwardness will ensue. Punk field-recorded whatever-you-can jams.

CRYBABY OF VENUS: Dunno, Shit 

Another sad (very sad) Crybaby makes a cathartic EP for his own reasons, and not yours (wah wah wah). Future he is furious. Dealing with themes like emotional abuse, discrimination, and MLP incest fanfiction, this EP is sure to tickle your anger bones! But with a little help from the tolerance fairy, you might just mute your computer having learned a thing or two.

XOFY2 // FIRE MOSS

XOFY2

Returning from the depths of our first post, XOFY2 brings 3 new experimental EPs to your libraries, with an artist debuting (EVAC), one we've already seen giving us the next piece of the puzzle that is their minds (RPR), and a classic KU hitmaker with an unexpectedly mindblowing piece! XOFY is a series of new EP challenge promoting experimentation from new artists (and especially solo artists) based on new themes each time. The original one birthed two classic rapsters from opposite sides of the St. Lawrence: Tenant of Neptune and Crybaby of Venus. What does the Goddess of time have in store for these three new participants? A mile-long set of limestone stairs with a gate at the top forming the mouth of a massive statue of a frog's head.

EVAC

Trying to make pop songs with a drum kit, one microphone, and minimal keyboard, skills, Bedford Jones is "[l]earning how to be the guy in the basement" in this pop storybook described as "pass0-aggro funk" and "outsider elctronic". Who says basement dwellers don't know how to have fun? The concept EP tells the story of a revolution through music, focusing on the elusive Kriemheld, whose fate is open to interpretation.

RPR: Welcome to Aiden's Dino Birthday Party

The Red Power Rangers return from the summit of oblivion with a Dino-Birthday album of impressive proportions, recorded with "only [their] voices and a pair of shitty children's keyboards, while babysitting". The babysittees were NOT happy about this, nor were they pleased with their inevitable bedtime. SxC xylorap.

HERTZ: Alien Rainbows

On distant planets, colours arrange themselves in obscure patterns, with hues unseen by the human eye, and unable to be seen. Whether this EP was even new, we don't care. New Hertz shit on the internet is always a delight! With album art that can only have been the inspiration for TofN's original EP's, this "shiny-key record", as Hertz puts it, will tear through your perception of reality with the power of distorted keyboard. So beautiful it Hertz.


FIRE MOSS: WHAT THE MOON TELLS US
After millenia of curiosity, local sound expeditionaries David Parker (double-bass and electronics) and K.L. Sealegs (synthesisers and pedals) have embarked on a quest to answer this divisive question, returning with improvisational "freaked-out noise" that will (hopefully) never leave you staring at the stars again. We would pay upwards of MS 20 dollars for these lunar samples on tape. Recorded by Matt Rogalsky fuck yes.

***

Coming Soon: XOFY3!!!! Get in on this shit while you still can, gentlefolk... (you have a while)

XOFY3's challenge will be "kitchen sounds"! Make some music with primary instrumentation performed with kitchen items, either live or produced. Remember that anything is allowed, the challenge is only a guideline to unite artists towards a common creativity! Align yourself not to perceptions of expectation, but to your inner goals and brain music. 

We have no idea when this will go down, who's gonna be on it or absolutely anything. But we do know it will happen. Shoot an e-mail to malayaandherneighbours@gmail.com or contact Ryan Martin or Spencer Curtis if you wanna get involved / you know how to contact those people! 

WHPPSR//SNPPRS // TENANT OF MARS // FREAKY LAWSUITS // IMAGE REPERTOIRE // MALT COLLEGE

WHPPR//SNPPRS: S/T

WHPPR//SNPPRS is a new impromptu music crew, making music with snaps, claps, and braps while punkin' out and trespassing around the K-Town OK City! 100% cell-phone recorded kwality. Their self-titled release is out now!

TENANT OF MARS: The Orange Light

The Orange Light, a new LP from Tenant (now on Mars), is "an experiment in Malayan optimism".

Tenant's sophomore full length, crafted in true eponymous fashion - first idea/best idea, using whatever is at hand - while on a Martian getaway. A real (shit) guitar et al was recorded using only a built-in Macbook microphone and no headphones.
A continuation on previous forays into ambience and soundscape, this time incorporating drone and harsh noise.
The sounds of tension and release.

FREAKY LAWSUITS: Freaky Lawsuits Return

Freaky Lawsuits is a neocore band made in emulation of the Amphetamines and anticipation of their then-upcoming performance for the release of Kingston Underground. United despite lack of talent or skill for instruments, Freaky pumped out this 4-track demo the day they formed to spite their naysayers within the KU community. Well worth the $1000! Coming soon: their performance at the KU release show (a little less Malayan)! 

IMAGE REPERTOIRE: Stay Together

Soft and haunting songs with dreamy guitar and sparce vocals and drums in this debut release. A band that can replicate the sound of their live shows in a recording (credit to Matt Rogalsky). Potential Kingston A.O.T.Y. Must listen. 

MALT COLLEGE: littledarlin_2
Malt College, a brother/sister production duo featuring Bedford and Minny Jones, has re-released their first song, littledarlin_2, to promote their upcoming full length tube art album, The Ammunition Factory. Sampling from the intro to the Diamond's doo-wop hootenanny Little Darling, the remix (made in Audacity) creates a funky fresh jam while abusing the art of stereo.

DORIES // NUPELA MASALAI // TO & FRO FORGET // RHEIA VASQUEZ // KP0KOK9IJKNM // OPPORTUNITIES IN DISGUISE

DORIES
Nupela/Frank Hoj drummer Spencer Curtis is violently percussing for Montreal-based "math pop" group Dories. Two songs off their upcoming EP have been packaged with a leftover track from Telstar Drugs' 'Endless Straight' EP. Check it out on the internets here, and stop by Sled Island in Calgary this summer. These are orders.

Also be sure to take a peek at Dories' own bandcamp.


NUPELA MASALAI: W.B.H.B.A.I.S.
Nupela Masalai completes Season One, its epic sextuple album improviganda, with some nice synths in the bittersweet concept album, W.B.H.B.A.I.S. Featuring 'Release' and 'Triumphant Song' off their mixtape, with lots of other elaborate hits. The album examines the incongruence between modern day and Canadian conceptions of the future following WWII, and Canadian culture as a whole with a retrospective of Nupela's entire first season.

TO & FRO FORGET: DOG EATS MANIC BEATS
After absorbing a drum kit, the galactic beast to and fro, forget has championed a new epic record 'dog eats manic beats', recorded live at the Artel. Electronics and hoarse throats come together with rampant hip hop beats in this powerful three-track jam. You can also check out the audio of to and fro's most recent show, which featured guest poetry reader Raissa Simone--an Artel performance, as part of the Joe's M.I.L.L. fundraiser festival Homegrown, here.

RHEIA VASQUEZ AND FRIENDS: NO COMPROMISE TELEVISION MUSIC

Renowned noise musician Rheia Vasquez has produced a new eclectro album featuring all of her friends, including Vincent Turdburger and Crybaby of Venus. Half experiment, half blasphemy, we'll let Rheia explain it herself:

wow!! all your best friends are here to make gr8 music over my gr9 beats!

Featuring:
- various drunk people
- every drum sample on my computer in alphabetical order
- just about every other default sample i could cram in there
- 100% biblical lyrics! (a few words changed here and there)

"Well basically rheia got me drunk and coaxed me into recording some song she wrote over this really weird eclectic beat? I'm not sure if she made it herself or what because it didn't sound like something she made. That song was awful. I hear it's on the internet now? That woman is insane."
-Vincent Terdburger

hahahah fuck you a-hole

KP0KOK9IJKNM: FOUR VOLT SOUP
Ukelele sung-poetry duo kp0kok9ijknm evolves into loud punk rap (still featuring ukelele) for their second LP, Four Volt Soup. Covering topics like working at Loblaws, shitting Kit-kat bars, and sitting with sinners, be sure to give it a listen!

OPPORTUNITIES IN DISGUISE 2
It's finally on the internets! The second iteration of M+HN's improvised open orchestra at the Artel. Varying between soft piano and chatter and peaking drums and high-pitched screaming, the unprecedented 23-track album continues the legacy of the original OiD.

credit

MEGA MASTER POST 2014

NUPELA MASALAI - SPENNILESS

Recorded over Christmas 2012 while Spenny was in Montreal, experimental jam band Nupela continues to test their skills as a trio, switching roles to keep up, with the help of special guest Namtham Bassfingers. Some of these tracks haven't been heard by band members for 16 months since they were recorded. The most long-awaited Nupela album ever, probably. 

 [Listen online!]

[Download for  free!]

CRYBABY OF VENUS - FUCK LOGIC

The criminal imitator returns, making another mockery of instruments with an album of pure altered vocals. Continuing from XOFY1's Wear a Suit, this album brings dubstep and electro inspiration to the rap mix. Unintentional pop gold.

[Listen online!]

[Download for free!]

UNTOGETHER MHM - REFLECTED IMAGES

A subtle shift in name to represent a total alteration in style and lineup, the Unhindered Mhm makes emotional noise rock with spoken word poetry in its second (and definitely not final) permutation. Just how many permutations will there be? Don't ask us, we failed Data Management.

[Listen online!]

[Download for free!]

RHEIA VASQUEZ - JAN RAP

The fourth leg of her journey to create albums in each genre, noise performer Rheia Vasquez releases a collection of datacore samples (some used in previous EPs Tryn Pop and Ril Core) available for free use. When asked if she wears a genre pedometer, she told us to "go fuk yrselfs" [sic], 

[Listen online!]

[Download for free!]

RYAN MARTIN - CROWD SAUCE

Plain old Ryan Martin makes an album for the people of Facebook based on their requests. He apologizes to everyone whose contributions failed to make it onto the album, and asks that you try to be more popular in the future. Every comment has been incorporated.

[Listen online!]

(^Tracks available to download individually!^)