announcements//NOVEMBER 2014

the blueprint 5...

+ just dropped a mixtape, EP, dissed Kevin Coval & LL Cool J, released a music video, and put out the lead single from their fifteenth album, a triple album. And has a novel on deck. And more.

“ll cool j” is a vengeful pocket symphony. + hops from character to character
like a metamodern Marshall Mathers over a ghostly children’s chorus. It’s a brutal diss
track from someone’s evoking positivity, thus it deconstructs
and reconstructs in real time. + falls in and out of rhythm , goes from 0 to 100
and is their virtuosic, unhinged self. There’s some heavenly advice toward the end.

“[+] uses culture to challenge those things within the culture itself” – Kevin Coval

“Emanuel Vinson is the sort of absurdly ambitious musician whose desire to express himself in as many ways as possible is bound to warm the heart of even the most jaded listener” – Jim Derogaitis, Chicago-Sun Times

“DEFENDER” EP

+ feels humiliated by Kevin Coval as a mentor and human concerning a sexual assault scandal in the prestigious Young Chicago Authors organization and community. The “DEFENDER” EP is a troubled transmission.

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jihad video

+ released a video for “jihad,” the second from i’m starting to believe their fourteenth album.

Shot by @Stash4d (Twitter), Projections by Jessica Gorse.

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dove anniversary performance

On November 22nd, 2013, dove was released. + went on hiatus for six months. This November 22, + will be performing at Punks <3 Prisoners a benefit for Black and Pink, “an open family of GLBTQ prisoners and ‘free world’ allies who support each other.”

To celebrate dove, + will perform the album in its entirety.

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“neverland”

For 11/7’s #MakeAWishFridays + released “neverland” the lead single from their upcoming fifteenth album

the blueprint 5: michael jackson wind waker / love. in cambodia / songs from my body

it’s a triple album. december 20.

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+ has a novel on deck.

small fortunes. surprise release date.

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emanuel vinson is writing for |X|

+‘s bodily incarnation has been reviewing singles, albums, and interviewed No Name Gypsy and Owen Hill of M&O so far. Angel Davanport interview/concert review coming soon.

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In late October + put out sL-wGod, a pop collage described as “a slolo journey through the heavens.” Read the homies blog interview + did with emanuel vinson on the mixtape here.

the homies blog//FEATURE: + interviews emanuel vinson

sL-wGod

AN INTERVIEW


Smoke curls from emanuel’s lips as a slowed Vic Mensa coos. “I just think it’s an entirely different song now. It like really enhances the songcraft and all the sounds, and his words, and his sexiness, and the mood.” We’re reaching the end of the new  mixtape sL-wgod that my bodily manifestation Mr. vinson has just put out. He starts it over.

THE INTERVIEW

What is sL-wGod?

Well, all the internet shit calls it a “slolo journey through the heavens”

What does that mean?

It means I started slowing pop songs with my friends a few years ago, we put out a tape called .slowbro.. I picked up my slowing technique from Walker, who was really the guiding force, to me, throughout the whole… thing. He started doing something cool and it blew me away, and we had made music before, and yeah.

I started using the things they didn’t fuck with in my own production. At this point I can say it feels transcendent to me. It’s a meditation on and expression of so many things. And sL-wGod is a beautiful manifestation of all these processes, techniques, and emotions that I’ve been cultivating and harvesting over the past couple years. It’s an adventure, a pure expression of me, but without me having to say a word. Which is important to me right now.

What kinds of techniques?

Blind composition, improvisation, silence.

Lately, I’ve been feeling like everything I do is dope as soon as I think of it, so I do it. Whether I’m about to write a sentence or start a song, I have made so much music and written so many poems and felt transcendent because of it so many times, and worked so hard on my craft, and found appreciation in so many mutually respected peers, and humans that I have no fear. I mean, I have a lot of fears, but when it comes to what I believe in, my expression, I’ve gotten to a point of development where I know how to make myself happy.

I know what samples to use, I know the appropriate mic quality, I know what patiences to have. So when I made sL-wGod, I had been actively planning it and kind of brainstorming for months, promoting it for weeks, compiling materials for years since the .slowbro. project, but it wasn’t til Monday that I knew exactly what I wanted to do, spent 45 minutes doing it, and put it out two days later.

You’re rambling.

Silences
James Blake inspired me to start using silences when I heard his debut album. Around that time, I started experimenting with hollowness and gaps in sound. When I was making i’m starting to believe this summer, the tiny gaps in sound that occurred in playback when my laptop’s capabilities weren’t able to keep up with Ableton’s demands started exciting me. I started leaving them in.

Since before Blake, too, a few years ago, on an album’s “final” track I left the recorder running and random instruments started firing off from the netheregions of the timeline where I had left like…loops and shit that I was figuring out. I let it play out, and eventually hit record again and freestyled over the end of the song, which changed the end of the album completely right before I put it out prolly the next day.

I do that a lot now, it’s a common compositional technique. Sometimes that includes silences, but it also brings us to

Blind composition and improvisation

Doing i’m starting to believe I wanted to make something like Elephant 6 collage pop records I’d heard in my yute and always wanted to emulate. I also didn’t want to get stage fright from returning from hiatus. So my composition style became fluid in many ways, you hear samples recurring throughout the first 14 minutes because I’m making the songs in real time, or so it felt. Now I’ve gotten even faster.

I didn’t hear a single second of sL-wGod’s music until I woke up in the morning and put it on my phone. Except for the older material I had heard, some of which I didn’t even remember making, I was just compiling the songs and organizing them, figuring out how I wanted to cut them up. It happened so fast that I remembered, “yes, the shimmering Mylo montage” but some samples I can’t recognize. It’s a mystery to me, these songs I’m making are sprawling mysteries to me and yet they are poignant and powerful and me, and beautiful and cutting edge and still make sense.

They make sense like watching some crazy fish on Blue Planet; with a significant amount of direction and intention I create a bubble of chaos that harmonizes into something alien and still impossibly tender and compassionate. sL-wGod feels sad, it feels familiar, it sprawls, it thrills with simple 4/4 synths, it’s just a slowed down Chris Brown song, but it’s also a cog of a compositional marvel, it’s also black power, it’s also IDM, and EDM, it’s cripplingly blind poptimism + avant garde = pulp fiction.

Last couple things:

I fucking love sL-wGod

Spoiler alert for processes/samples:

A guy at the Chicago Diner, he works there, we’re all friendly-ish, and he tells me again that the name of that soundcloud artist is The Code. Tracks 4 and 5. I put them in there somewhere, they fit perfectly into where they are. A few of the singer’s words before the cut say the name of the next sample, one that fits and shifts their mood slightly but is from a completely different artist. I still have never actually listened to The Code.

Standing by a fire I asked Alex Goldin, amazing painter, what his favorite song was. He sends it to me that night/morning, I put it in without hearing it. It’s the opening to the album, “Hello Jesus. Je

This is just me writing now.

We want you to listen to sL-wGod, and follow your dreams to eternal peace, with or without it. But sL-wGod is a part of you.

media//PHOTOS: “i’m starting to believe” release show

+‘s fourteenth album i’m starting to believe is now available.

These photos, taken by Monica Wizgird, are from the release show held at GNARNIA and feature noise pop band DAYMAKER.poet Jasmine Barber, musician/poet Adam Gottlieb, and emcee Speedy Calhoun.

DAYMAKER.

Speedy Calhoun

Adam Gottlieb

Jasmine Barber

+

Outside the show

+ lighting design done by Jessica Gorse, of DAYMAKER.

peace and love

“i’m starting to believe” is available for streaming and purchase now

photo9_edit1

+’s fourteenth album “i’m starting to believe” is now available.

////album cover credit: Sarah Winters\\\\

It can be streamed for free at soundcloud.com here

And purchased via Bandcamp for $8 in a download that also includes sample credits, song lyrics, and individual tracks from IS2B’s four suites for a user-dictated non-linear listening experience!

Purchase i’m starting to believe.

Thank you for your support,
+

+ returns, announces fourteenth album “i’m starting to believe,” debut novel

return of the crimson thing

return of the crimson thing, credit: Sarah Winters

Last November, following the release of dove + entered artistic hiatus. Producing no art, doing no shows or tweets, listening to old jazz. Quickly but surely, 0 to 100,
+ has re-emerged with sometimes purple sometimes crimson sometimes pink sometimes blonde hair, a new album, music video, novel, and a great big bushy beard.

i’m starting to believe is a postmodern odyssey. A linear post-pop experiment, a
transcendent space rap experience. It hits like a bottle opened and empties out
with prayers from DMX and acapella anthems.


TREASURE ISLAND

is a novel. Inspired by Ernest Hemingway’s The Sun Also Rises, it is a series of vignettes organized for dramatic effect. About art, the city, living in the twenties, restrained. Release date: September 24, 2014.

 


This is +’s new music video, “You That Nigga, God.”

Dir. Darryl Turnbow

love.

announcements//NOVEMBER 2013

event

c ya
photo credit Monica Wizgird

On November 29th, a week following the release of +’s thirteenth album dove + will have a show signaling the beginning of an indefinite hiatus, at Elastic Arts Foundation, 2830 N Milwaukee. It’s at 8, and it’s free. Featuring Raych Jackson, Dave Green, and elise or else.
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dove + singles

dove
dove will be available 11/22


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homies blog

Two new homies blogs were posted in the month of November, the first featuring the poetic musings of Imani Jackson’s Jaywalking in Chicago and the ponderous, thunderous joint “The Waters” by Mick Jenkins and the second being a video feature with SKECH185 and Lamon Manuel of the Tomorrow Kings talking their new album Nigger Rigged Time Machine (12/3) and rapping out loud in a beautiful place.

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lexica

+ at October's Salonathon: LEX·IC·A 1 year Anniversary Celebration

+ at October’s Salonathon: LEX·IC·A 1 year Anniversary Celebration

photo credit JRVMajesty

+’s final scheduled performance preceding the hiatus show will be at the November edition of Salonathon: LEX·IC·A. Monday, November 25, 9 PM. Beauty Bar.

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b-sides

the tape b-sides

emanuel has been contributing posts to the tape’s b-sides blog. Today’s entry was Xiu Xiu’s “Don’t Smoke in the Bed,” a cover from their upcoming Nina Simone tribute album Nina. Visit the post (and the rest of the blog) here.

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pitchfork

In early September a video of + performing the tender discovery track “brutal discovery” was uploaded to Pitchfork.tv..


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coop

emanuel contributes tweets to The Cooperation Operation’s official twitter. Follow it to find out about volunteer opportunities at the garden, see educational (and probably pretty) videos on farming from around the web, get recommendations and insight from Coop Op members, and say what up.

+ is alive atm