mixtape vol.2: asymmetric haircut
Knowing how heart-wrenching and unbearable for all you Ghost FM readers it would be to jump out of your bed on a Monday morning to suddenly see a big hole instead of a new post on the blog, we again devoted an entire day on our precious weekend for curating our second mixtape simply because we cannot leave this unconditioned love unrequited.
Let Asymmetric Haircut warm up on your headphones for three minutes or so and the rest is no less than back-to-back relentless beat orgasms. This is in quite a different realm than Cronkite (our first mix posted a few weeks back). This time - and despite a minor backache that will go away by the grace of Casino Jack - we decided to make you dance! So if you find this groovy enough, let your friends know and re-* as much as you can! This is the only way for us to know you are out there throwing a pong back for our ping.
A lost blog post somewhere in the deep dark woods of our buried archive was about Alex Zhang Hungtai of Dirty Beaches expressing his love for Hong Kong’s reclusive analog noise band The Offset: Spectacles. When our retina-scanning spiders found their ways into their basement, they were as puzzled and lost in the language as us. We never approached deciphering their poetry. But it was a beautiful amalgam of Suicide and Sonic Youth, ‘cept less polished and more jagged. It was our favorite discovery of the year back then and it made us enormous fans.
But Dirty Beaches did not stay idle all this time. In fact, in a very welcoming surprise, he has collaborated with his favorite canto psychics on the closing track of his latest EP Neon Gods Of Lost Youth. It is called “廟街 (Temple)” and it sounds like amnesia exacerbated by an obsessive compulsive disorder of painting on your stomach using your dead grandma’s acrylic artificial nails. We cannot go a day without it now nevertheless.
The song was "廟街"
performed by Dirty Beaches ft. The Offset: Spectacles
from Neon Gods Of Lost Youth EP
Leyland Kirby, in one of his many alter egos The Stranger has re-mastered Bleaklow. The album was originally released in 2008. Using textured drones and Kirby’s signature hauntology flare, the album is a sound-washed dark illustration of landscapes in Northern England. Being a spectral master at architecturing percussive foundations, Kirby directs Bleaklow from up the smoking factory stacks down to sludge wells.
The spaced-out eerie “Exposure” is a threatening demonstration of how his sound collage can range from crackled music-box emissions of The Shining (in An Empty Bliss Beyond This World) to 72 disappearing transient worlds of a troubled mind in Theoretically Pure Anterograde Amnesia and to black and white postcards of destroyed edifices like here.
The song was "Exposure"
performed by The Stranger
There were no warning signs when The Avalanches turned turntablism into a cocktail-on-the-beach VIP access card to a Club Med disco of ocean waves and surf in Since I Left You. Let alone all the late ’60s good vibrations. Years later - on a very selfish fast-forward of years - we parasailed along the low tides of Washed Out, Air France and jj (it was their name back then in case you were born yesterday). Now that the ice rink has taken form, a beach mixtape of all that recorded joy comes into light. But this time it calms you down to the surface of mallsoft and plunderphonics. We have come a long way, honey! We have swum the Atlantic from the shores of “I Get Around” to an anti-capitalist textured nu-disco beach music of architecture in tokyo (yes, all in lower-case or we have no right to post this.)
Via Business Casual, you
can could get both Summer Paradise by architecture in tokyo and [夏日] by マクロスMACROSS 82-99 in one tape. But now that they are sold out, how about quenching our thirst by streaming the longest and most chilling bite of one of them. Not much more we can do now that the snow storms are nigh.
The song was "POLYGONモール"
performed by architecture in tokyo
from Summer Paradise
We do not really know. It could be one of the following: our mis-accomplished youth in the ’80s lacking all ’80s aspects of the decade, a self-destructive appetite to lose eyesight and embrace eyebrow nervous tics, or just an insatiable lust for the heavily synthed beats of what-once-was. But it is incredibly hard for us to say no and look away when this gigantic hole in our face gets compensated in the form of just one song.
We have expressed our admiration for La Cassette, Mitch Murder, Miami Nights 1984 and Tommy ‘86 before. This chiptune dreamwave lost future nostalgia from Makeup and Vanity Set’s 2013 EP 7.25.2148 is a great follow-up to all that line-up. It is the closing song that goes incrementally joystick-ful and foot-tapping.
The song was "Praxis"
performed by Makeup and Vanity Set
On October 28th, BBC Home Entertainment will celebrate the 30th Anniversary of Miss Marple by releasing the first volume (first four mysteries) on Blu-ray. And that of course brings us to Joan Hickson and her portrayal of one of our most favorite sleuths and our sweet but always on-the-verge-of-pant-wetting memories from anything tagged with Agatha Christie.
There is always an exquisite contradiction between Christie’s astute detectives being normally soft-spoken well-dressed innocent-looking protagonists and the obscure veiled nature of murder and blood. Having read almost all Miss Marple stories, Joan Hickson was the closest woman to how Christie wanted Marple to be. And for that we actually have evidence:
After Hickson’s appearance in the stage adaptation of Christie’s Appointment with Death in 1946, she receives a note from the woman herself mentioning “I hope one day you will play my dear Miss Marple.”
The opening theme by Ken Howard and Alan Blaikey is a pristine appetizer to every story. So in case you are thinking about adding tangible objects to your bookshelf, this anniversary set might come in handy.
The song was "Miss Marple Theme BBC"
performed by Ken Howard and Alan Blaikey
from (The 30th Anniversary of Miss Marple)