Luke Younger’s Alter catch a miasmic ambient/noise infection from JS Aurelius (Marshstepper, Pleasure Korps) of the Ascetic House collective.
Goofin’ Drones collects eleven queasy and and shockingly unpredictable parts deformed from field recordings and “real-time, live-coded compositions based on algorithms used for spoofing, hacking and otherwise sabotaging GNSS-based unmanned aircraft systems”.
If you’re into the effects of swiftly changing atmospheric pressure systems, the most schizoid Prurient recordings, or are just a bit of a bastard who likes to be tossed between alkaline ambience and decimating noise, this one’s definitely for you, pal.
Crafty techno experiments hugey recommended to fans of N.M.O., Don’t DJ/Diskant, Beatrice Dillon - this is the best release on NNA Tapes in a while...
“Brand new work from Northampton, Massachusetts percussionist and electronic producer Jake Meginsky. Known best for his solo work both under his own name as well as the Vapor Gourds moniker, Meginsky has also been highly active in collaborative groups such as Slaughterhouse Percussion with John Truscinski, and F/I/P with guitarist Bill Nace. After last year’s brilliant “Vandals” LP on Open Mouth and Vapor Gourds’ “Incision Objects” LP on Fogged, Meginsky starts 2016 off fresh with “Seven Psychotropic Sinewave Palindromes” for NNA.
Bringing new ideas to the realm of electronic minimalism, Meginsky strips down the sound world of this composition to four basic elements – sine waves, square waves, white noise, and an 808 kick drum. While these four sounds may be commonplace in the world of electronic music, the results here are anything but. There is enough diversity in the application of these rudiments that the listener quickly forgets about their inherent limitations, and opens up to a new cohesive listening experience. Using an advanced ear for psychoacoustic phenomenon and microtonal textures, Meginsky goes far beyond merely layering these four sound elements, but instead is able to assign them unique relationships to one another through careful composition, creating a refreshing new style that sits somewhere between musique concrete, techno, noise, footwork, IDM, and contemporary electronic music.
As an experienced percussionist, Meginsky takes highly advanced concepts of rhythm and tempo and applies them to these digital sound sources. The influence of percussion is further evident through the emphasis on sonic physicality through extreme dynamics, and Meginsky shows a firm understanding of the effect that sound can have on the human body. Powerful bass, hissing high end white noise, and rhythmic mid range textures interact with one another to produce constant movement and a driving directional flow, not to mention palpable physical sensations in the ears and brain. Unlike acoustic percussion, however, the tone and mood of the piece feels alien and inhuman, and any traces of the warmth of humanity are forgone to give way to electronic purity. “Seven Psychotropic Sinewave Palindromes” is proof that an artist restricting themselves to a limited palette can lead to highly creative, original, and unexpected results.”
NNA is pleased to release a special collaboration between two of Montréal, Quebec’s finest.
“Too Significant To Ignore” unites Andrea-Jane Cornell, a prolific improviser and former CKUT Radio music programming director, and Tim Darcy, best known as the guitarist/vocalist for Constellation Records’ four-piece post-punk band Ought. On this recording, the duo concoct a hazy bed of grey, melancholic psychedelia using synthesizers, field recordings, processed accordion, and manipulated objects to serve as a backdrop for Darcy’s deranged existential spoken word. Recalling the spirit of post-punk’s more adventurous heroes such as Dome, The Shadow Ring, Sleaford Mods, and The Birthday Party, “Too Significant To Ignore” occupies a similar territory where punk ideals intermingle with electronic music and the avant-garde.
AJ and Tim create a bleak sound world that lends itself well to the cold concrete and icy ambiance of Canadian metropolitan living. Subtle melodies coexist alongside smoldering, buzzing drones, sublime electronics, and indiscernible field recordings, all smudged together to forge a slow-paced swirling mass. A beautifully peaceful sadness is revealed, creating a perfect atmosphere of cosmic dread and a cinematic sensitivity that compliments the unfolding observational dialogue. Darcy’s vocal delivery comes across as part Ferlinghetti, part Henry Rollins, and part Bill Hicks. His drawled, surrealist lyrics ooze forth like a loogie sliding down a brick wall, reflecting a bored disgust and an isolation from society. He touches on apathetic voyeurism, city life, regret, self-reflection, human disconnection via accelerated technology, and the bleakness of modern sterility. The delivery and the content of the lyrics impeccably conveys the drab routine and impersonality of day-to-day life, like the disoriented narration of an existential crisis. Using repetition as a weapon, Darcy drills phrases into the listener’s brain, helping the lyrics recede into the music to create a coherent unity between the electronic ambiance and dry vocalizations. “Too Significant To Ignore” is a unique and non-referential pairing of electronics and spoken word, yielding an invigorating listen that stands on its own amongst new underground music. AJ and Tim succeed in communicating the confusing psychedelia inherent in the mundanity of modern human existence"
YYAA 006 is entrusted to Belgium’s Hiele, who provides a rapid-fire, floaty live recording after the label’s previous editions from TCF, Backtearer, Trevor Lee Larson and co.
Like his two vinyl issues for Ekster, this 40 minute tape evinces Roman Hiele’s electronic agility; darting between hi-tempo, heady techno, scratchy breakbeats and hyperactive acid with a lush-yet-hardcore old skool IDM sensibility that resonates with strains of classic IDM from Rephlex and Warp or Belgium’s own Wémè label.
RIYL Cylob, EVOL, Link
Utterly fxxking destructive and heart-wrenching power noise from the don gorgon of Hospital Productions, making his first album confession since the release of the stunning Frozen Niagara Falls last year.
Taking 33 minutes to spell out a litany of ills that mark up as classic, pain-saturated Prurient in contrast with the more layered, nuanced narrative and more complex production values of his previous album, or that glaring ambient session with Regis in the Bird’s Eye View Into A Machiavellian World of Secrecy boxset.
Booting off with the infernal backdraft and flagellating vox of the album’s most succinct piece, Let Your Mind Free (Whip The Corpse), he veils sore chord progressions and distanced vox with needling distortion in the nine minutes of Before Rain Becomes Snow with a sort of post-rock/shoegaze appeal perhaps nodding to Justin Broadrick.
However, the album’s most captivating tract is the gaping black holer, In The Ruins of My Brother - where the distortion dissipates to the edges, allowing vast blooming bass flares and slithering high registers to wrap around the neck with a spacious, full spectrum dominance that recalls his Pleasure Ground classic, before Red Poppy Laughter slips back into an opiated sort of naval-gazing noise bliss.
So good, one for the haters.
Lurching, throttling noise.
“In this age of electronic surrender, where identities and realities can be sloughed from you as easily as leprous skin, it must be considered: What is the storage capacity of our personal spiritualties Does our ease of transition affect only the exterior, or do our humanities become ragged with use—or does it become compressed as these fragments of reality splinter away from us What is the sound of a soul in 2016
The scream of such corruption may be incomprehensible to the untrained mind, yet in the aural abattoirs of Gainstage these flayed metaformations are brought into our UnReality. Beneath the sediment of humanity, the sun shines in RGB: convert to grayscale, and watch a world of self-buried definition open before you. In this new landscape, the cold light illuminates shattered ideologies and the dust of forgotten deities left behind from some cosmic flea market. Inhale this world: serrated serotonin dragged up spinal digitalis, crushed-god ecstasy snorted up behind your third eye. Pounding metamorphosis as Void whispers to you incessantly: chug. chug. chug. A celebratory consumption of self, filling the pipes of the body with shambling effervescence and an eternity of hissing and indecipherable voices. Soft light—the color of stone, of ancient mountain and dirty concrete—fills the spaces behind your eyes: eigengrau as lover, her crushing arms enfolding you with the promise of silent dominion.
In these alien pieces of audio, one need not find terror, but enlightenment. There is no deception in destruction, nor lies in death. Allow the weight of Elevated Noise to act as psychogenesis—you may find yourself rising faster than you fall.”
Eight years since Samoyed self-released his gorgeous debut album, Always From This Point, the Scottish artist and product designer presents a lovingly realised cassette reissue via his Flask label.
Perhaps best likened to the mutant spawn of BoC, Machinefabriek, and Cindytalk’s quieter aspects, the drizzly, rainyfaced ambient tone and mineral grain of Samoyed’s debut fits so perfectly on the tape format that it’s a wonder he didn’t do this years ago.
Don’t sleep on this little beauty!
Tonal computer dronescapes and ambient colour scales. 2nd release on Egyptrixx’s label
“Sign of the Cross Every Mile to the Border is an album of material sound and concrete emotion - tranquil, concussive electronics.
Seven meditations on optimism and faith through the prism of environmental cataclysm. Euphoric and dismal; partial survival as hypercolor swirls in fuel spills - econoline psychedelia. Conflicted, synthetic celebrations of the industry of human spirit // the malevolence of the human race; faith as optimism // optimism as escape.
The music is glacial, brittle and incomplete - low-key grandeur. Flippant scrolling through preset menus as virtuosity and casual anthems of indifference to bounty. Digital shatter is washed out by lucid drones and again by programmed noise, a reminder that advocacy builds itself on a foundation of prophecy but speculation can be crystallized in an instant. Dense sound mimics massive blankets of haze that clarify the primary forces: consumerism, institutional paternalism, genuine human resilience and ingenuity. Life on earth.
Active since 2014, Sign of the Cross Every Mile to the Border is the first official Ceramic TL release.”
Heron Oblivion are Meg Baird (Espers), Noel Von Harmonson (Comets On Fire, Six Organs Of Admittance, Sic Alps, The Lowdown), Ethan Miller (Comets On Fire, Howlin’ Rain, Feral Ohms), and Charlie Saufley (Assemble Head In Sunburst Sound).
"Listening to Heron Oblivion’s album feels like sitting in a lovely meadow in the shadow of a dam that’s going to burst any moment. Members of this new San Francisco combo have put in time in both raging and relatively tranquil psychedelic sound units. This is the premise and the synergy behind this very unique and special new album.
The group first properly gigged in April of 2014 opening for War On Drugs. They finished the record independently then inked a deal with Sub Pop in early 2015. Most recently they toured the West Coast with Kurt Vile and Cass McCombs."
A welcome, unexpected dose of dark ambient composition from Lee Bannon in Dedekind Cut mode for Hospital Productions, diverting the vibes of last year’s collaboraton with Rabit to a more detached, OOBE space just behind the ears, above the head.
American Zen finds its centre in quivering, pensive drones and fractured small sounds, but is rent with an oceanic sense of scale, deploying splashes of distant percussion, extreme panned vocal snippets and slowly escalating harmonic space perfused by crackling radiowaves and that intangible timbre of an old TV turned on somewhere, but you can’t quite pick out its location.
It unfolds at a glacial pace in five parts, crossing lines/waves comparable with Chino Amobi & Rabit’s ultraviolent mixtape, the nostalgic Americana yearn of Torn Hawk, and even The Caretaker’s hallowed aether zones; perpetually out of reach, submerged or hardly there, but feeling as though he’s right there, breathing quietly in the background and watching you listen.Excellent stuff, perhaps the most interesting of Bannon’s releases we’ve heard so far.
Noisendo is a killer little label run out of Lisbon by Marcio, who’s perhaps best known for those striking, hand-painted Príncipe jackets housing 12”s by Nidia Minaj and DJ Marfox et al.
However, as you might be able to tell, Noisendo is another beast entirely, previously exploring the artist’s taste for bloodied and extreme sonics over a series of CDrs from Dave Phillips and Jim Haynes a.o, and now with its first cassette release, courtesy of Norwegian metal/psych/noise lord, Lasse Marhaug.
The A-side’s Future Architects Will Disembowel Us was first recorded in 2007, and here presented in a new, 2015 mix yielding 20 minutes of claw handed guitar riffage smothered in torrid, animalistic tape noise and acousmatic detritus. For a sturdy comparison, it sounds something like Stephen O’Malley recording during the era covered in When’s Black Death classic.
However, the other side’s Det Myke Landskapet was recorded new in 2015 and, if we’re not mistaken, makes use of a prepared piano (or some detuned metallic string instrument at least), Reinhold Friedl-style, to create a queasy AF vortex of resonant, chaotic string pitches against a wall of stony faced drone.
Proper, mashed potato head here. Tipped for the nasty pasties.