If this is what “Sun City” sounds like, minus the Girls it seems, take me there. We’ll drive into town to the sound of one quavering organ tone as the sun over Sun City sinks into a sunset over Sun City. In the five minutes left of the day, that one tone will coast down the highway with us, growing louder along with the engine, until… yeahhhhhh, three more tones punch in to join it: right channel, left channel, center. It’s as simple as this. If we had more time, “Sun City” could probably scrub the sand off our boots like the wind does, erosion style. We pull over and we raise a monument of cactus and clay up to the sky and we stare at it immobile for hours after the sun sets, waiting for it to rise again.
The Bitchin B’s boys can do no wrong in 2013. Across a series of solid gold physical releases, Cooper Crain’s “side-project” alongside CAVE has evolved into the Chicago drone / neo-kraut scene’s finest full-time ambassadors of the 1970s. The Krausened EP shrunk us down to microscopic size and led us down an artery into the beating heart of Kraftwerk’s past earlier this year. On the upcoming Bitchitronics LP, due July 16th via Drag City (!), Crain and collaborators Dan Quinlivan and Rob Frye harness tape looping and delay systems in four sessions of beatless, gorgeous, hi-fi drone that channel the likes of Fripp & Eno, Tangerine Dream, and Alice Coltrane more faithfully than anything these ears have heard in a long while. While the album’s other sessions take their sweet, sweet time to develop, “Sun City” crams its full arc into five minutes of sublime oscillation.
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