Category Archives: News

We Use a Typewriter

I’m asked the same question, over and over, until I memorize the answer so diplomatically, that even the freshest among you would feel how tired I am of responding- “Where do you find the music for Dingus?”-  It’s a great question, but only because modern journalism has taken a turn toward the lazy, uncreative, uninventive side of business.

Years ago, every news source would have given you this exact answer (the same answer applicable to Dingus):  “We use good old fashion investigation, prying our noses into the deepest corners of the common world, to bring you, the reader, completely original, exclusive content.”  Our content doesn’t come from other news/media sources, it is born from the embryonic juices of our average citizen-musicians. We don’t spend our days reading PMA, OMR or LHB and we certainly don’t make any editorial decisions based on market interest.  (In fact, one of our least favorite things is visiting our HypeMachine and seeing that other blogs have posted the same song as us.)  We don’t check our numbers all day and, other than these fuckers at WordPress who sometimes make us, we don’t bombard you with irrelevant advertisements.  Dingus is not a blog established to hit a profit margin; it’s pure love.

In a world where even some of the most prominent media sources are comfortable re-blogging, re-writing and re-massaging haggard stories with hopes of marrying you to a “fresh product”, not many of us spend the hours of work that discovering truly original material requires.  So, where do we find our stories?  Well, if you were expecting me to tell you that Dingus pulls material from the most “indie” corners of the web, screw you.  Dingus is that indie corner, the most indie corner that could possibly exist.

With that said.  I would like to re-introduce the Dingus line-up:  Andrew Alexander Prieto (Writer), Nick Mancusi (Copy Editor), Christine Spilka (Press/Media), Michael Justin Robison (Webmaster), Thomas Miranda (Communications).  Guest posts will often come from writers Susan Williamson and Layne Montgomery.  Without these people, I would lose my mind and Dingus, surely, would crumble.

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Adam Pruss: Beyond Faded

Originally, this track was titled ‘Infinity Soldier’

While passing from poorly lit hallway to poorly lit loft, a bong is thrust into my hand before “hello” even crosses my mind. I’ve entered into the cave that is the mind of Adam Pruss (Flowers for Reagan), into a world that I’ve accepted is beyond my comprehension, a world where my ear drums will surely be assaulted, a world where holding on is your best bet.  

Before Gold Panda, before Four Tet, before the extreme rise in popularity that the soft-core-drone scene saw, there was but one native New Yorker writing the earliest pages of the genre’s history.  Flowers for Reagan, pre-reinvention, put forth Reaganomics in 2007, an album that was simply too far ahead of its time.  It existed only in CD format, and as a limited run, but more interestingly, some of the tracks have been hidden within one of the latest FFR releases.  These days, Pruss can be found making far less stable music under the Flowers name.  In fact, to most locals, the name immediately elicits thoughts of complete audio chaos.  However, there is some sort of solace in his early work, as if to suggest that Pruss has already been where we are, has already become more numb that the most jaded city soul and is on to the next one.

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Anatomy Magazine

The world of online webzines is so full of trash, it makes picking up a copy of Rolling Stone seem like a reasonable thing to do.  But, one in particular stands out, Anatomy Magazine.  The zine features fashion, music and every other type of art or pseudo art out there and is completely open to anything inspiring.  If the growing trend in internet zines is a touch of personal taste and curation, offering a more encompassing, meaningful connection between author and reader, I’m in.  Without sacrificing literary standards, these zines, although non-existent in the physical realm, have just as much consumer-potential as any 50 thousand dollar, printed start up with an office and full staff-  in fact, the very fact that these zines are written by the honest, hardworking artists among us (rather than business professionals) offers a newfound level of purity.  It’s been confirmed that the girls at the Sour Mash blog are working on one of their own.

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Basic Printer: Wallowing in the Afterbirth

Back last June, when Dingus officially went 100% DIY, Basic Printer was one of the original acts to get in touch.  At the time, it all seemed exciting, a musician actually wanted to talk to us.  Well, now here we are today, 6 months and nearly 800 posts later.  If you’re counting in Printer years, we’re a full 2 albums old and now there’s been a shift.  While the first two albums (Poor Ian and Abstract Trust) seemed to fly at us with emphasis on the prolific nature of the artist (Jesse Gillenwalters – clearly inspired by the likes of Super Moth or Tobacco), recent anticipation paired with a fresh single release and some under the table demos, has us completely rethinking the artist.

Basic Printers first two formal LP’s detail an erratic electronic paranoia that rattles through off-beat, tribal structured sprints, never truly finding solace in conclusion.  Although entertaining and often innovative, the new Printer that’s been reintroduced with ‘Rosecroft Mews‘ is a more enlightened Printer.

With the recent release of his latest music video (by Dillon Utter), our predictions seem ensured.  Basic Printer has broken past the creative brainstorm that was his early career, the frantic, manic rantings, and entered into a more meditative, journey driven state.  Wallowing in the afterbirth of Poor Ian and Abstract Trust, Gillenwalters took every hard lesson learned, ever minor criticism from friend or foe and distilled it into one stoic, purposeful album, set to release this Friday.

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Dingus’ Top Ten (2011)

10/  June Kids by Parsha   (Great Britain)

Thumping in from across the Atlantic, dub producer Parsha, knows the key isn’t his intensity, but rather his ability to restrain all that power for the final release.  Featuring a tightly knit re-fix of an already spectacular Crystal Castles track, June Kids slides in at number ten.

9/  Houses by Holland Creek   (Montreal)

Generously donated for public consumption, Houses by Holland Creek attacks formal melody at its heart; layering varying lyrics, sometimes with delicate whispers and other times with forceful assaults.  Once inside, the instrumentation opens up, patiently plotting entrances and exists to spark emotional gratification.

8/  Sisters by Seabiscuit   (Sweden)

Seabiscuit is derivative while still complimentary.  Taking contemporary styles of electronica that extend far beyond a simple dance beat, Sisters takes the likes of Radiohead, Massive Attack or Portishead one step further in their debut release.  ‘Psychic Secret’ may be the only track that even slightly resembles the pop manifesto.  Be ready for a challenge.

7/  Beforetime by Tim Fitz   (Sydney)

Before slowing down and setting a dance standard unheard of since black and white cinematography, Tim Fitz’ October release steps up to the high dive and takes a large leap of faith.  Bending genres together, Beforetime is as lush as any five star acoustic endeavor while stopping to re-introduce the genre to the growing technology.

6/  Stay by Tours   (Philadelphia)

Stay is four gold plated tracks to remind you of Gold Panda in a time when nothing else really seems to live up electronically.  Innovation exists, even within the most basic dance jams, twisting in the most contemporary sample slicing styles.  Recently released with The Snake, Tours has barely made his introduction.

5/  Nittiotremo by Fucking Werewolf Asso (Sweden)

Unrelenting and unforgiving, Fucking Werewolf Asso puts a bitter taste in your mouth, landing some of the most melodic breakdowns among scattered paranoia.  Nittiotremo is five perfect tracks that elaborate within themselves like an interspecies orgy.

4/  Linden Place by Mars Argo  (Chicago)

Sugarcoated- is the first word that jumps to mind when thinking of the Chicago based internet spectacle, Mars Argo.  Comprised of Mars, herself, and cohort Titanic Sinclaire, the duo and their band put an inspiring twist on old school pop, jolting it back into the modern market.

3/  Lillian: A Folk Opera by Ben Lear   (Brooklyn)

Ben Lear’s Folk Opera has been making its mark on the city with symphonic standards on par with Andrew Bird at his best.  With a beautiful, overarching sentiment, Lillian develops dramatically and emphatically with comforting warmth and joyous release.

2/  Just Kids by Just Kids   (New York City)

Just Kids not only pulls at my heartstrings for the lo-end DIY qualities that I love, they also happen to write some of the most charmingly and honest melodies.  These melodies bring the modest, but enlightened guitar rhythms to life in a way that’s never been felt before.  In a music world where every soft singing, pretty woman gets a shot at a record, Just Kids does justice to the consumer.

1/  One Body by Sons of an Illustrious Father  (New York City)

Like an unresponsive corpse suddenly reaching up for your throat, One Body packs all the panic of modern living into one, beautifully recorded LP to define a DIY generation.  Working with legendary Brooklyn studio, Mama Coco’s Funky Kitchen, to get that palpable Ignatius flavor, Sons of an Illustrious Father present the most thoughtful album of the year.

Sour Mash Holiday

We hope everyone enjoyed the holiday festivities and we wish the best to everyone in the coming year.  This past week, we helped support a show curated by The Sour Mash Blog over at Brooklyn DIY venue, Big Snow.  The line up consisted of:  Pilots in Orbit, People in Charge, The Beach Arabs, Spook Houses, Shapes and Ritz Riot.  Photographed by Mavy Entertainment, Dingus presents some images from the show:

Death of Music

Recently, one of our writers worked on a piece to be published in a few DIY music newspapers (one in particular to be published by our good friends at Mama Coco’s Funky Kitchen) around New York City (truly an honor).  The Meme Movement also printed hundreds of single copies, so if you see one floating around the city, grab it.  Here the article in entirety:

Death of Music  (by Andrew Alexander Prieto)

Growing through some of our most impressionable years during the 90’s was a battle. More than a battle, it was a war; a war for artistic integrity (a sentiment we were never formally taught,) for purity and passion. We didn’t know it then, but having been indoctrinated with the MTV cafeteria menu of bands that, in reality, were corporations selling products of pre-assembled angst, love or whatever banality marketed best, set a foundation that would be hard to alter. The foundation is not a mystery; it is an extension of the embedded, corporate-capitalistic philosophies that hold our society together by a thread. It’s a foundation that preaches instant gratification, and while the majority of us were being sold on that disillusioned pleasure, a minority labored in the service of music that held on the idea of artistic purity.

The 90’s, while giving birth to a whole arrangement of abominations, also gave rise to the indie label and, in-turn, the indie scene (a scene fueled by an already seeded new wave aesthetic). And, over the last twenty years, the idea that music should not be monopolized has given a platform to some of the greatest minds of our musical generation; minds that might have otherwise gone unexposed. However, as the indie label became mainstream (for better or worse) its motivations changed.

The year is 2035, and there isn’t a soul on the planet who gets singular recognition and mass acclaim on par with today’s superstars. No, this is not a dystopia; it’s the coming of artistic salvation. Somewhere along the way, the independent music label lost its innocence. They say a rising tide lifts all ships, and it did. Insert power, money and influence into anything and it slowly rots with corruption from the inside out. The result: a three tiered music industry fighting for your love which, in the first two tiers, translates directly to: your money.

You’ll be familiar with the first and second tier. They are the major and minor record labels (respectively) and they thrive as businesses. Integrity resides in the third tier, a level of music distribution that rises above popular demand and nearly all free market constraints. It is not a dog eat dog model, there is no competition because there is room for everyone. Born out of the leveling power of the internet, distribution of anything, not just music, is now possible from anywhere you can get wi-fi. It’s this equalizing force that is pushing musicians all across the globe to live out their vision, communicate their fantasies, and be heard, potentially, by the entire world. Without executives to tune a song to a market, without marketing to tune a genre to product, musicians everywhere, bound to their work only by their hearts and not their wallets, are driving progress. And, as always, in response to the change in creative method, the consumption methods must shift too.

Now the music world sees a rampant growth of personal music publications that consciously avoid even the indie-mainstream, in search of the new artistic frontier. Of course, not all are equal, and some are more vigilant curators than others. But the DIY sentiment that is slowly settling into the market, while imperfect, refines itself daily.

With the redefinition of the music market, the consumer now has access to a limitless stream of creative energy, and can decide for themselves what they connect with and what they don’t.   It is the re-localization of the art world.