Prefuse 73 release new album April 14, 2009 on WARP
April 1, 2009 § Leave a comment
Cut and paste from PREFUSE 73’s BLOG.
Words by Guillermo Scott Herren & Warp Records
Since this record itself is quite a departure from other “Prefuse 73″ records(in my opinion)…I will leave it up to the “press release” from WARP to sum it up below. I wouldn’t be able to explain this record from my perspective other than saying that it was a labor intensive and analog heavy affair. Nonetheless, I sometimes think it’s the most “straight ahead” Prefuse record I’ve ever made. The next time I listen to it, I think it’s quite possibly the most obscure record I’ve ever made without ever intending it to be. I listen to it and think – “This sounds like a semi normal mixtape on the surface but feels like a weird, old school freak out “nonesuch/library” record playing at the same time.” I really can’t answer the question to why I would make a song about kids not being to dance anymore as a random political analogy (preparations kid’s choir) but I did it anyway. Either way, it is indeed meant to be listened to from beginning to end very loud.
In an era of widespread digital artistry and eye-blink information traffic, we are so bombarded with the new that simply processing the amount of music emerging from blogs and file-sharing sites can’t help but draw our attention from the existing foundation of musical cornerstones. With so many splashy debuts each week, each month, each year, it’s not uncommon for them to shine brighter in the media than the latest work from an established, proven artist.
Guillermo Scott Herren (aka Prefuse 73) is nothing if not proven. It’s hard to think of a name that carries as much weight in both hip-hop and avant-rock circles as Prefuse 73, who in the past year alone has been asked to remix TV On The Radio, Pelican, BLK JKS and Cornelius, not to mention his early collaborations with School of Seven Bells and Battles. These interactions have clearly helped to shape the evolving Prefuse 73 sonic aesthetic, which has expanded to include Herren’s twisted visions of prog-rock, “machine funk” and global psychedelia.
For Everything She Touched Turned Ampexian, Herren rejected the idea of straight digital recording and instead went the much more intensive route of recording to analog Ampex tape, giving the album the sound of a lost tape of exploratory studio musicians from the not-too-distant past. In addition to the recording process, Ampexian also differs in its composition, existing as a tapestry of tracks of varying lengths and moods, albeit with a remarkable linear flow and, of course, unmatched rhythmic bump.
From the drum machine prog of “Parachute Panador” to the driving noise jam “Violent Bathroom Exchange”, it’s easy to deduce that Prefuse 73 is comfortably stretching out musically. “Nature’s Uplifting Revenge” sounds as if broadcast from from a pirate radio station equally enamored with Animal Collective and J Dilla, while “Simple Loop Choir” is anything but simple…an expansive robo-ballad, featuring a vocoded chorus of Herren’s voice and clouds of analog debris.
PREFUSE 73 – EVERYTHING SHE TOUCHED TURNED AMPEXIAN LP out APRIL 14
01 Periodic Measurements of Infrequent Smiles
02 Hairy Faces (Stress)
03 Parachute Panador
06 Half Up Front
07 Sexual Fantasy Scale
08 DEC. Machine Funk All ERA’s
09 Get Em High
10 Ampexian Tribe of a Lesser Time
11 When Is a Good Time?
12 Fountains of Spring
13 Whipcream Eyepatch
15 Rubber Stems
16 Oh Is It
17 Four Reels Collide
18 Fringertip Trajectories
19 Violent Bathroom Exchange
20 Natures Uplifting Revenge
22 Simple Loop Choir
23 No Lights Still Rock [feat. Dimlite]
24 Gaslamp Killer Feedback Text
25 Digan Lo
26 Preparation’s Kids Choir
27 Pitch Pipe
28 Periodic Measurements of Infrequent Frowns
29 Formal Dedications