Dusted Midyear Round-Up Part 2:Â Mutilatred to Z Money
Panâ˘American
We continue our look back at the first half of 2022 with another batch of traded records, covering the second half of the alphabet. Â Check out Part 1 if you missed it. Â
Mutilatred â Determined to Rot (Redefining Darkness Records)
Determined to Rot by Mutilatred
Who picked it? Jonathan Shaw
Did we review it? Yes, Jonathan wrote âMost of Mutilatredâs music has all the subtlety of a baseball-bat beatdown on parking-lot asphalt. But they can craft a somewhat more complex experience when they wish.â
Andrew Forellâs take:
Whoa! As an outburst of performative pique, I can dig Determined to Rot, a relentless shit show of an album for a relentless shit show of a time, a point Jonathan made far more eloquently in his review. Itâs an exhaustive and exhausting experience and Mutilatredâs frustrated rage is magnificent in small does but as a whole too overwrought to take completely seriously. The deliberate ugliness pummels any message into oblivion and youâre left aurally battered by a bloke bellowing the bleeding obvious over an impressive battering ram of a rhythm section and a sludgy mess of riffage. Itâs like daily doom scrolling; we all know things are bad and perhaps we need reminding that wallowing ainât action or redemption but Mutilatred provide neither release nor comeuppance. Those drums though.
Andrew Forell
 Overmono â Cash Romantic (XL)
Cash Romantic by Overmono
Who picked it? Patrick Masterson
Did we review it? Nope
Ray Garratyâs take:
The first couple of tracks here are perfect dance floor material, drumânâbass-y techno or techno-ish drumânâbass with some extra flourishes. The next two tracks, âGfortuneâ and âBone Mics,â are variations on Burial (yes, again), and if they donât feel particularly new, they still provide a needed change of pace after the more danceable songs. âPhosycon,â the final track, makes the whole EP a pleasurable listen. Overmonoâs use of a glitching vocal sample turns the cut into the atmosphere of a weirdo disco; itâs too mutant to dance to, but delicious for anyone who is tired of thousands of bands that churn out the same music, varying only the titles.Â
 Panâ˘American â The Patience Fader (Kranky)
The Patience Fader by Panâ˘American
Who picked it? Bryon Hayes
Did we review it? No, but Tobias Carroll reviewed his previous record A Son in 2019 and said it made âa convincing case for why Nelson has had such an enduring presence in the ambient/drone/slowcore space.â
Ian Mathersâ take:
Mark Nelson is a musician whoâs work Iâve enjoyed but havenât explored much (and have always meant to, whether on his own as Panâ˘American or as part of Labradford). Honestly the last Panâ˘American record I really dug into was 2000âs 360 Business/360 Bypass, and that was because Alan and Mimi from Low sung one of the songs there. I knew not to expect the ambient dub atmosphere of that record from this one, but maybe the biggest surprise for me is how consonant this work is with that entry from decades ago; something in Nelsonâs tone or palette seem to hold no matter the instruments or genres he works with. There are some touches on The Patience Fader that hark back to earlier work (itâs kind of amazing what he does with a harmonica here, evoking both the use of melodica in dub and the uses Walt McClements put an accordion to on last yearâs excellent A Hole in the Fence), but long stretches of this dusky, plangent LP seem to be constructed of just sparse guitar and pedal steel. It seems to exist somewhere out past both the Durutti Columnâs gentler work and the KLFâs Chill Out and it is spellbinding. Nelson himself, in a song title, maybe sums up the feeling best: âOutskirts, Dreamlit.â
 Shane Parish â Viscera Eternae (Ramble Records)
Viscera Eternae by Shane Parish
Who picked it? Bill Meyer
Did we review it? Yes, Bill wrote: âThis is music that invites both surrender and close listening, the better to feel carried away by an evolving stream of sound.â
Andrew Forellâs take:
Guitarist Shane Parish performs two riveting improvisations on Viscera Eternae. On the first âHatching the World Eggâ, he emphasizes the twang, buzz and sustain of steel strings, moving through a series of themes that build to a more percussive approach with total control of direction, dynamics and tone. âTouching the Silver Chordâ, played on a nylon stringed guitar, is lighter with more of an emphasis on shorter melodic ideas that ebb and flow connected by a strong sense of progression. The clarity of Parishâs playing and musical intelligence illuminate both pieces and not a moment of their 20 plus minute run times feels superfluous or wasted. As a first experience of Parishâs work, this was a revelation.
 The Smile â A Light for Attracting Attention (XL)Â
A Light for Attracting Attention by The Smile
Who picked it? Tim Clarke
Did we review it? Yes. Tim said, âUltimately, whether The Smile spells the end of Radiohead feels beside the point when the music that Yorke and Greenwood are making at this stage in their career is this damned good. âÂ
Bill Meyerâs take:Â
Radiohead has never done it for me. While they sort of make sense in the abstract as a 21st century Pink Floyd, a massively successful popular music entity that introduces a few semi-popular sounds to the mainstream, and thereâs no denying their record-making craft, Iâve never heard a song from them that I wanted to hear twice. So, give Thom Yorke and Johnny Greenwood credit for consistency; The Smile, their non-Radiohead band with Sons of Kemmet drummer Tom Skinner, has the same non-effect. While one can appreciate, for example, the way Skinner constructs an intricate percussive mobile around the popping guitar and nervous falsetto coo of âThin Thing,â the quirky hooks just donât snag and hold. âWe Donât Know What Tomorrow Bringsâ sounds like it wants to be an anthem for an uncertain time, but it feels too far away, too insulated, to provoke a response. And the blue eyed, gray skied ballads are really a bit of a slog.Â
 Wayne616 â Grease Files (Still Grinding)
Who picked it? Ray Garraty
Did we review it? No
Patrick Mastersonâs take:
In a year where hip-hop has taken on the contours of Michiganâs influence more than ever, it seems important to highlight that a major attraction of the street raps emanating from Flint and, to a lesser extent, Detroit arenât just the off-kilter rappers. But run that back a second: Wayne616, whose âgreasyâ sound began as Mannie Fresh- and Brick Squad-influenced backing beats for his own R&B crooning before he gave up life on the mic for one behind the boards (âI smoke too much for thatâ he said in an interview recently), isnât even from those cities, instead pumping out as many as 30 beats a day from the other side of the state in Grand Rapids. This subtle but significant distinction matters less when his forces combine with two of the Great Lakes Stateâs finest, Rio Da Yung OG and Louie Ray â one the reigning king of the sound, the other ascendant after an unfocused early run. Grease Files technically is just a compilation of old songs Rio and Louie had lying around but hadnât used yet, so youâre hearing a hunger in corners you mightâve expected one or the other to coast. And though their voices dominate the tape, Wayne also throws in what ought to be his calling card, YSR Gramzâs âGrease,â plus appearances from RMC Mike and Grindhard E on âFake Sleep.â Anyone paying close attention to Michigan might know the dudes in the booth, but with Grease Files, Wayne616 shifts the focus to the ominous bell rings, fleet-footed snares and clipped cymbal crashes that back them. Slide in.
 Winged Wheel â No Island (12XU)
No Island by Winged Wheel
Who picked it? Jennifer Kelly
Did we review it? Yes; Jennifer noted, âNo Island would be a monumental achievement in any year, but its origins in difficulty, in anxiety, in separation and tedium make it even more stunning.â
Jonathan Shawâs take:
Most folks know the highly quotable, front- and back-end bits from John Donneâs âMeditation XVII.â The celebrated devotional piece terminates with the gravid observation that mortalityâs Bell âtolls for thee,â and it begins with the equally stentorian âNo Man is an IslandâŚ.â Winged Wheelâs pandemic-period record likely has both those things in mind: psychologically and spiritually impoverishing isolation, and all the too-present death. But the four players in the project also evoke a lesser-known line from Donneâs piece: âany Manâs Death diminishes me, because I am involved in MankindâŚ.â Across their widely scattered COVID bubbles â in New York, Chicago, Detroit and Ohio â Cory Plump, Whitney Johnson, Fred Thomas and Matthew Rolin shared tracks and layered these songs into organic, pulsing, shimmering forms. In spite of the distances and the temporal dysjuncts, the musicians sound entirely involved with one another, in sync and in aesthetic accord. The emotional weight and socio-cultural dissonance of the past few years are registered (see especially the weirdo atmospherics of âLasso Motel,â the mournful tones of âStone Oaksâ). But the record continues to find grooves and open, melodically inspired spaces that let the music speak. âGrey on Greyâ has grim-sounding title, but youâll keep coming back to its thrum and cosmic harmonizing. It feels good. Itâs the sort of thing that will impel you back toward the world.Â
 billy woods â Aethiopes (Backwoodz Studioz)
Aethiopes by billy woods
Who picked it? Andrew Forell.
Did we review it? No.
Tim Clarkeâs take:
I havenât felt this excited about a hip-hop record since Cannibal Oxâs The Cold Vein, way back in 2001. Iâd registered a lot of buzz surrounding various billy woods albums prior to hearing Aethiopes, but this is even better than I could have hoped. Preservationâs production is masterful, employing a shifting and surprising kaleidoscope of dusty jazz and blues samples. Over this understated backdrop, woods and various guests lay down hypnotic flows that paint a vivid picture of urban communities rent asunder by poverty, addiction, and domestic tension. Itâs a shadowy, stoned and mesmerizing forty minutes, thankfully free of the hip-hop clichĂŠs and braggadocio I often find so off-putting. Aethiopes is consistently great, but the oneâtwo of âChristineâ and âHeavy Waterâ is my standout portion of the record, especially when the rolling beat of âHeavy Waterâ starts up under Mike Laddâs verse during âChristineââs closing moments.
 Yard Act âThe Overload (Zen F.C. / Island)
Who Picked it? Patrick Masterson
Did we review it? Yes, Tim Clarke said, âSmithâs words tumble out effortlessly in a colloquial, observational stream, with plenty of laugh-out-loud moments.â
Bryonâs take:
Earlier this year, I read Simon Reynoldsâ Rip It Up and Start Again and Retromania back-to-back, which I feel prepared me for Yard Actâs dance-addled take on U.K. punk rockâs immediate aftermath. Whereas the post-punk revival of the early 00s missed out on decades of Internet-sourced cultural recycling, rock bands today â Yard Act included â can pull from multiple sources within the space-time continuum when crafting their sound. These lads capitalize on this ability, peppering The Overload with splashes of indie dance and its various offshoots. Vocalist James Smith is the primary draw here. Heâs in no way related to the late Mark E. Smith, but his sinewy speak-singing comes across as if the Fall vocalist were cleaned up, dressed in his Sunday best, and dosed on pep pills. Lyrically, Smith tames post-punkâs political vitriol with a hefty dose of humor. Having his tongue planted in his cheek doesnât really detract from the message at all, but the bandâs bouncy rhythms and musical polish sure do soften the blow. Still, The Overload is a lot of fun.
Z Money â Back 2 the Blender (4EverPaidRecords)
Z Money ¡ Back 2 The Blender
Who picked it? Ray Garraty
Did we review it? Yes, Ray wrote that âHis cadence âestrange,â takes the over used hip hop words and lets them shine in the new light.â
Ian Mathersâ take:
I got one of Rayâs picks last year and really loved it; as someone who definitely likes rap but frequently doesnât know where to start aside from a few reliable acts, I appreciate the tip last year and right here. I donât think Iâd even heard of Z Money before his review, but there are already several hooks here that have been reverberating around my head for days. âDatin a Chemist,â âStill Thumbin,â âNotice It,â âAsap Yamsâ all grabbed me on first listen, and Z Moneyâs melodic sense and ear for a good line are compelling throughout. All of those tracks are from the first half of this 24-track, 56-minute tape and I wouldnât have been upset if it had been pared down a little bit, but if I go through and try and figure out what Iâd cut nothing stands out as weak. Given the rapperâs pride in not having any features here it makes sense but is still impressive that one guy going this hard solo over solid but relatively restrained productions never gets monotonous. Z Money doesnât let any of the songs wear out their welcome and whether itâs popping out another solid hook or the activities heâs describing, itâs the kind of hustle thatâs hard to knock.










