Welcome to Frank Fridays, where every time out we let a professional let you know what you should be listening to this weekend and beyond.
New York City native and progressive producer Geng has journeyed into uncharted waters in music. As a self-proclaimed sound artist, he founded the label Purple Tape Pedigree (or simply PTP), which is home to other producers including ENDGAME and WWWings. PTP has become an electronic label and multimedia congregate invested in the more extreme and experimental, as well as being an active support system in the underground community. In addition to a monthly release schedule, the label also creates an audio magazine entitled CELL. The 12th installment of Geng’s DWMS party series just went down and New Yorkers should be on the lookout for the announcement for their next event soon.
Kodak Black, “Can I”
Kodak Black’s Lil Big Pac is on my album of the year list. Each track is an important piece to the narrative. This is probably the song I’d play anyone who doubts this young man’s talent for songwriting. Shout to Lawrence Burney for the recent piece he did about Kodak Black, read that.
Sounds like you fell asleep to that NASA Voyager recording of the sounds from Jupiter, but then that magnetic interference turned into an actual message only decipherable in the dream state. Everything I’ve heard x/o write has been ridiculous and the anticipation is high for her forthcoming project. Also, adding to the foreign entity transmission factor is the fact that she made this track by using a production application coded up by Dane Law of the ever-out here Quantum Natives camp, something Dane has explained as intentionally not-so-user-friendly.
0comeups, “Out The Dirt”
AF85 featuring Organ Tapes, “Air It Out”
The ending of Road To Perdition if it starred Chow Yun Fat. My guy Organ Tapes found a bag on this as an auto-tuned ghost.
Endgame, “Felony Riddim (Chino Amobi Remix)”
It’s summer 2016 and my brother Endgame has already put out two landmark EPs: Savage and Flesh (on PTP and Hyperdub, respectively). He’s honed his music to be this discordant sonic assault of boisterous rhythm and cold melody. Tag in Chino Amobi and you can never predict what will happen. I love that. This remix has him tearing apart something that was already unsettling to finally bring in a fucking wobble bass (aka “wub-wub”) in a way that isn’t sickening. Literal “drill music,” for real.