Existential Little Interviews Vol. 59: DJ FLP

How do you create meaningful experience in your life?

Making art is the best way in my opinion. Not many things inherently have meaning, so you might as well create that for yourself.

How do you manage ennui?

Generally I like to sit back, smoke a joint, & check up on music that friends are releasing (usually via Bandcamp & Soundcloud).

Sartre considered contemplation a luxury, do you?

I’d say it’s more of a necessity. I really have no interest in speaking to someone who’s never contemplated existence. Imagine how dull that’d be.

Is your existence as compared to your nonexistence something which can be justified?

This is completely subjective. To whom am I justifying myself? But yeah, probably not. I don’t think anyone can justify their own existence rationally.

Sartre posits that the existence of desire is the best proof that humans are basically in a state of “lacking”, if man were “what he is(a being-in-itself)”, he would not need anything to complete him. Is there anything that can make a human complete?

That depends on what you consider to be “complete”. However, I agree with Sartre’s sentiment that the human experience is an extremely fragmentary one. A big part of life is searching for that missing piece of the puzzle, but another part is accepting the fact that the puzzle has an infinite number of pieces and you’ll never be able to put it all together to form some perfect, beautiful spectacle.

How do you make earnest connection in a world where instant gratification seems to be so highly valued?

I’d say you connect with people on a much deeper level if you actually experience things together. Going to shows for example. You’re going to be a lot closer to someone if you’re brain actually associates them with a positive moment in your life. That being said, nothing wrong with a little instant gratification here & there. Insert that IV drip of upwards thumbs and little red hearts straight into my veins.

Soundcloud Standouts Vol. 2 by Clever Tom of Internet Hippy

With the thousands upon thousands of songs that are uploaded onto the internet everyday, sometimes it can be quite a chore to wade through the trash to get to the treasure. Fortunately for you guys, I’m here to do the dirty work. In my new monthly column for 1833.fm, I (Clever Tom of Internet Hippy) am here to bring you five recently uncovered gems from the untapped mines of the soundcloud quarry. All tracks featured are from recently released projects by underground rappers, and each song stands out as a high mark in a field with zero barrier for entry. So if you’re sick and tired of digging through endless reposts on your cluttered soundcloud stream, just hear me out, and I’ll make sure to only bring you the best of the best when it comes to unsigned Internet MCs.

With Squadda B not far off from the release of Main Attrakionz’ magnum opus “808s & Dark Grapes III”, you’d think it’d be a while before we got another major project from the Bay Area MC. Knowing how hard Green Ova grinds though, that never could have been the case. Rather, Squadda, Pepperboy, & Young God are already gearing up to release “Kome Ride With Us” via Mishka Records, and their lead single, “Tears In My Eyes”, is very much on the level of the best tracks from both “808s & Dark Grapes II & III”. I honestly wouldn’t be surprised to see this track mature into the role of underground classic, especially if it ends up getting a solid video treatment.

Seize the Chair – Knew You’d Never Been There

From the other side of the pond, Sheffield’s own Seize the Chair finally releases their next single to emerge out of the dark hole they’ve been hiding under for a couple years. Wackadoo, their first single, was released in 2012. It’s noticeable in the psychedelic rock bands new song, Knew You’d Never Been There, that they have tightened up, fine tuned their instruments and have gone through multiple pads of paper until they had their best single yet. While I instantly thought of the Dazed and Confused opening scene which had Aerosmith’s Sweet Emotion as the opening sound, I’d be hard pressed to say that I could not hear Seize’s new single being played in the someone’s next short film that’s filled with adults ingesting questionable amounts of LSD.

Existential Little Interviews Vol. 58: Epsom

Many Existentialists define existence as being-in-the-world or being-with-others. What do you think is the role of community, in relation to the development of one’s self?

I read a very long article last year about a man in central Maine who, at 19, decided to abandon everything and live in complete solitude in the forest. I think he’s kinda famous now, his name is Christopher Knight, and he was eventually arrested, after surviving for 28 years, for being caught stealing food from a lake house with security cameras or something. Anyway, in the subsequent interview he gave he said something which stuck with me, something like– and I’m paraphrasing– that when you are totally alone, separate completely from others, you realize that the schema that is your personality is entirely performative, and you begin to live– utterly egoless– as a part of the world.

That stuck with me, as even when I’m completely alone, disconnected, destitute, etc, I still continue the social kayfabe by talking to myself at length like a dumbass. If I wasn’t so attached to the material, un-mystical world, I would move to the Maine wilderness as well. That’s like, Heidegger’s wet dream right? I would build a fort and be chill forever. Call it “Chateau Neurotic.”

Is your existence as compared to your nonexistence something which can be justified?

Absolutely not. I feel like, especially through the proliferation of content, people are starting to resemble aggregates of signs rather than actual subjects– and not just typical semiology– like everyone’s little sphere of ideas is taking on such incredible movement with the internet impinging that it makes me dizzy. Like I can’t tell– and maybe it’s just me– my friends’ content online from my friends’ content offline, to me, it’s a continuum, not a difference, and both are larger than the Cartesian vision of the self could ever be. Nonexistence of the flesh, or I guess the end of being-in-the-world, is then a paradox, as the content I have created will still exist in the world after I– as in my body– am long gone, morphing and reacting to stimuli as a typical subject does without my guidance. I guess I’m the functional end of my content’s chain of signification, but that’s only my view of it, and you could certainly argue that me thinking quaintly that I’m the center of my art is violent towards the art itself.  What’s that one quote, the kind that gets shared on facebook in inspirational image-macro form– “Everyone dies twice, once when you stop living and again when people stop talking about you” or something like that? That’s kinda it, but it’s kinda not, as that quote implies a difference, and a sort of solipsism that I’m not particularly keen on. Music especially embodies so much mystical, information about the canon from which it emerges that each song really is a space in its own separate existence.

Are you afraid that everything will happen?

There’s no way that everything will happen. Everything is a byproduct of an imperfect language, a kind of crude shorthand. What is actual will happen, I’m positive, but everything as the summation of all that is actual and un-actual is impossible and also ineffable. But yes, I am afraid regardless, or I guess more anxious and unsure than afraid outright. Thinking about this makes me feel very, very hungry.

“I think, therefore I am” or “I am, therefore I think”

Don’t put Descartes before the horse! (I learned that joke from Siri.)

If Donald Trump is an example of increased entropy in the universe, what are other contemporary examples?
Advertizing algorithms
Young Thug’s career
Steve Reich’s Clapping Music
Audio compression
Pepe the frog
Every iteration of Smash That MF Like

Existential Little Interviews Vol. 58: Epsom

Supa Bwe – Brujería + Hella Shields (Clear Skies)

“Never give a finesser the chance to finesse, you gon loose everything”

Supa Bwe is about to release his next project, Down Comes The Spaceman, and gives us a taste of what’s to come with two new singles, “Brujería” and “Hella Shields (Clear Skies).” He collaborated with Shepard Hues on production for “Brujería,” it’s an intense, haunting beat that perfectly fits Supa’s words of warning. He claims to not practice brujería (Spanish for witchcraft), although I’m not sure I believe him, his music casts spells.

“It’s gon be alright
Baby live your life”

“Hella Shields (Clear Skies)” is emotional and bare, Supa speaks directly of pain and loss. The title of the track makes me think of one of my favorite Hurt Everybody songs, Hella Ligtning/Hella Swords, though the tone of “Hella Shields (Clear Skies,)” is darker and finds Supa Bwe solo. Be sure to catch Supa’s first solo show in Chicago at Reggies on April 14.


Beach Jesus Feat. Cae Jones – Helsinki

Beach Jesus are back with the single, “Helsinki,” fresh off the release of their second EP, This Time Last Year. Produced by Jaro, “Helsinki” is an excellent representation of what I like so much about the quartet; very interesting, mercurial production and vocals with heart and smart wordplay. In “Helsinki” they talk about life, love and challenge while Jommis infuses his verse with humor in lines like, “I’m one coffee table away from having a dinner party with aristocrats that act snobby and only eat the most expensive almonds. I should stop it,” and “Trying to swallow caviar after drinking champagne is more work than it’s worth.” Chando comes next with a heavier vibe and then Chicago singer/rapper Cae Jones is featured, he sounds optimistic and smooth. Chris Orta has created all of Beach Jesus’ recent cover art and this one is particularly striking. Press play and let Beach Jesus and Cae Jones take you to their “Helsinki.”

1833 Mix Series, Vol 86: TRANCE.BIZ (ete 2012)

Included below is a brief interview with TRANCE.BIZ 

What is your creative process like? How do you approach the task of making music?

I don’t often think of what I do on the level of creative process, and I rarely approach making music as a task. I’ve often described it in private conversations as a therapeutic or psychonautic process, to borrow terms from Scott from Ailanthus Records.

What do you think is the historical and social significance of “the club”?

I’m not the person to ask about the significance of ‘the club’ in any sense, other than the sense in which it alienates me as a disabled, underaged kid living in a rural area. Speaking plainly: there’s just not much going on in Bemidji Minnesota that both appeals to me and allows my access of it, and I view clubs as spaces which appeal to certain people and allow their access of that space.

What made you want to start BEAUTY SUPPLY RECORDS and what do you hope to accomplish with the label?

Beauty Supply Records was a notion which came to me in an absurdly specific moment, context and state of mind, not unlike those related in my email to you re:the mix (who’s contents are displayed on the soundcloud page of this mix).

It was april 4th, 2015, my 17th birthday. I was in the public library robotripping, reading a volume on women artists of the 20th century, fixated particularly on its descriptions of video and film art of the 60s to the 80s. Dan Sexual’s ‘Nashville Nights’ was also a fresh memory, which had me fixated on shortform, ‘traditionalist’ sample-based/’eccojam’ releases (borrowing more terms and ideas from scottmv.)

I was speaking with Chance from dj ways of seeing (also of dontreljams infamy) about all of this, and these were conversation topics that had fascinated Emily (glitter fortress et al.) and I for the good part of our 6 month relationship. Again, specific and complex ideas.

You’ll notice imagery from Nam Jun Paik, Joan Jonas, Daido Moriyama, and Chris Marker in our back catalogue, for example.

There was something politicised about Beauty Supply from the outset as well, by nature of Emily, Chance and I’s shared gay, trans, queer experiences, which alienated the ‘vaporwave’ contingent, although we did get Jeremy to do a great release for us (from heavy systems inc, ex-dmt tapes). Even with the people it alienates and the enemies we’ve made, I personally don’t ever want us to lose sight of that.

what do you think the function of a net label is in 2016 and who do you consider to be your most important peers in the net label game?

I can’t speak on the function of a net label in 2016, I don’t think. It’s a question like yours about the club: I’m uncomfortable with the broadness of its language and its wide-reaching implications. I can say that Emily means the world to me, and Chance, Jeremy, Alex (from magical garage taste, releases as white blackmail), Scott, Robin (fka internet club, who needs no introduction and whose inspiration, guidance and importance on emily and I can’t possibly be overstated, especially considering they introduced us two kiddos <3), Ryan (releases as qualchan, runs peradam tapes, writes for spook city usa), Aaliyah & Saoirse (baby zionov and chansey, from rateyourmusic), d. (releases as gamma adjunct), and $ega are all very close friends. with all the talk of scene politics and not wanting to lose sight of that, I don’t ever want Beauty Supply to be anything else but a space for close friends to share personal, politicised art, and to make friends with shared experiences closer to each other.

I’ve already mentioned Magical Garage Taste and Ailanthus. I’d like to add that I still show love for Ailanthus, but I have to say they sometimes release music that personally alienates me and is very much at odds with the beauty supply and http://trance.biz ideas, 2047 being a glaring recent example, and summer breeze being something in their back catalogue i have no taste for. I’d say that all of it is worth interrupting your day to listen to, however. Scott is no bad curator. I’d also like to show love for Perry’s psalmus diuersae, Chino’s Non Records, $ega’s Wasabi Tapes, and Mrs. Elite’s Fortune 500 (I’m still holding out for a full comeback on the heels of music for the now age iii), all of who’s music, art, presentation, curation communicates itself than i could ever do writing.

I feel bad about forgetting mj’s visual disturbances crew now, even for a second.

I’d like to think that even if the music Beauty Supply releases is strikingly different from that of visual disturbances, we have views in common about music, politics, communication and interpersonal relationships, as well as gendered, queered experience, and an interest in visual art. they do a lot of good for making transfeminine artists visible and respected, in a way we also aim to do.