INDUSTRY DUMP

INDUSTRY DUMP is an “off-press-cycle” / “free range” music site, to explore every avenue of recorded or live performances, histories, oddities, deadstock, forgotten artists, etc. A dump file for the music industry.

2017 (music)

2017 will be over soon. Good riddance. Current obsession, thanks Prez! Related Readings: 2017 Books (On Probabilistic Thinking, Technologies of Power, and Austerity & Poverty) Algiers, “The Underside of Power” Moor Mother & ONO play Resonance Series Catching Up #4 2016 Algiers, The Underside of Power (Matador Records, 2017) I suppose I was waiting for… (read more)

2017 (Books)

Every day of 2017 has felt like one sliver of species-death, that sliver slowly-extracted in the most painful and least explicable manner, that sliver drawn to cause pointless suffering for as many people as possible, that sliver drawn to clothe those most lavishly clothed, feed the fullest, empower those most powerful, and so on. There… (read more)

Moor Mother / ONO

“We don’t do songs.” Moor Mother was running a line test at The Hideout in Chicago, and uttered one of countless cutting truths while prepping with sax cohort David Boykin. The sound engineer wanted to know how long Boykin’s set up would be needed, perhaps for one song? But in the spirit of the night,… (read more)

Algiers, “The Underside of Power”

In case you missed it, 2015 was a year filled with black revolutionary voices that presaged the forthcoming white id that defines America’s current political hell. There was a sense during that year, that if only we listened we could have assisted in accomplishments of emancipation, even piecemeal, or merely understood dynamics of power to… (read more)

Catching Up #4

I feel like I should have a really, really good reason for being so late with this, and being so sporadic with these posts. Let’s get straight to it. Ural Thomas and The Pain, s/t (Mississippi Records, 2016) Take stock of all the artists you know about, including those that you listen to, those that… (read more)

2016

I must die. White death: I must die a white death. Every aspect of my power, privilege, spoken and unspoken, overtly or covertly claimed, wanted or unwanted, known or unknown, must end. But this power is embodied, and insofar as white privilege is embodiment, my white body must die. My white identity must die. I… (read more)

Catching Up #3

Where has 2016 gone? So, I’m still working on getting my butt in gear for some reviews at Decoder, and more content here, but in the meantime here’s a bunch of stuff that’s been spinning… Some time ago, I missed Moor Mother’s set at Elastic Art for reasons unknown. I wish I hadn’t, in retrospect,… (read more)

Pariuh, “Passed Lives’ Excessive Future” LP

There is an exuberance throughout Pariuh’s debut album that is among the most refreshing qualities I’ve heard in a punk album in some time. Certainly, there has been no shortage of great punk music in recent years, especially of the art-damaged and no wave variety. It is as though a group of outsider artists are… (read more)

Making “Our Severed Sleep”

It’s difficult to explain the feeling in retrospect, but Daniel Wyche and Ryan Packard comprised one of my favorite experimental and rock acts beginning in autumn 2014. Playing at first under the auspices of interpreting one of Wyche’s tape compositions, Packard and Wyche also incorporated a new series of compositions into their live set, including… (read more)

Catching Up #2

Another set of months has past, another set of reviews piling up! Which is to say that 2016 artists are cranking out good music much faster than I am writing about it. Sorry this took so long, more on the way, still. Daniel Wyche, Our Severed Sleep (Public Eyesore / Eh?, 2016) In a forthcoming… (read more)

Edges of Rock

I’ve been thinking about Heat Waves by The Flag since its 2015 press cycle, and I’ve never quite found occasion to translate those thoughts into press itself. The album is challenging in the sense that it is ambitious, well-produced, versatile, and full of big ideas. Its hardest edges are confrontational. Thankfully, Geographic North are on… (read more)

Catching Up #1

For many reasons, I have been sitting on too much stuff lately. So, here’s to catching up: Constantine, “Worshipping the Sun” b/w “Blue Iris Baby” (self / Guerssen Distribution). Chicago’s Constantine privately pressed their first album in 2015 and added a 7″ with two non-LP cuts (!!!). If only to trade in a phenomenal business… (read more)

Year-End Dump

FEATURES (8) ONO, Spooks 2: Travis Test Press Art & Writings (October 28, 2015) ONO, Spooks 1: P. Michael (October 27, 2015) Black Lives Matter (ONO / Algiers / Obnox) (October 26, 2015, Industry Dump) Horse Lords (September 28, 2015, Industry Dump) THE CHICAGO TRIANGLE: FINDING EVERYDAY MUSIC (JULY 6, 2015, Decoder) Radical Spaces: Q&A… (read more)

B E A T S

While I have continually been blown away by the full-fledged embrace of bleak punk by several artists over the last couple years, there also seems to be a gang of beats-oriented electronic and experimental artists that are also pushing boundaries in other directions. I’ve been listening to most of these cuts for the last few… (read more)

ONO, “Spooks”

If one subscribes to ONO’s exhibition emails, one will have noticed that the group recently added “Heroin” as a set-closing song. Video surfaced of the song from ONO’s CMJ set in Brooklyn, and last night ONO closed their Spooks release show with the song. Each of the group’s players masterfully builds their part throughout the… (read more)

ONO, Spooks 2a: Travis & test press art

While preparing for the release of Spooks, Travis completed a series of exquisite, detailed ink drawings on the test press labels. He produced two majors “motifs” or themes, and then recreated each scene on 12 test presses (x 2 LP) in vivid detail. The individual pieces feature variations, but the major imagery and storyline is the same across… (read more)

ONO, Spooks 1: P. Michael

To prepare for Spooks, I thought it was necessary to work directly with ONO to begin working with this extended and deep record. The album is unlike any ONO album to date, insofar as it captures more funky and soulful “traditional” sounds, while also effectively conveying the theatrical (in a good way) energy of the… (read more)