Correct Me If I Am Incorrectly You
The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.
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The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.
The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.
The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.
Black supersound LP. Full cover inside-out print.
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The Vladimir Ivkovic marshalled Offen Music hail another label debut with Phillip Otterbach’s diaristic illbient drone missives dialled in from the brink of sleep.
‘Correct Me If I Am Incorrectly You’ feels as though it emulates the sensation of post rave, post session, when one is trying to catch some Z’s but the powders and potions won’t let you. It follows from Offen’s introduction to Kinzua’s squashed club music and the cranky debut of Fritz Catlin (23 Skidoo) and Simon Crab (Bourbonese Qualk) as Big Daddy, with one of the label’s most abstract impressionistic turns, all strung out guitar meditation and collaged, textural samples that sweep frazzled, supine minds into opiated, liminal dimensions.
We’re not sure if the track titles are apocryphal or not, and the blurb’s playing suitably oblique - “Remember Cowboy Bob, Salaryman and Gary Floyd in that opium den in Fischeln?” - but their time stamps appear to span more than 30 years of sketches from the archive, and likewise parallel rave and dance music’s lingering after effects. ‘Sept 18, 92’ outlines a curious conception of queasy ambient romance that lists like restive bodies and minds between the OOBEy shape of ‘Jan 25, 03’ to the white hot, shearing guitars of ‘Apr 22, 04’ and uneasy blues meditation ‘Okt 01, 21’. A sense of respite and the gear wearing off comes with the final third of Loren Connors-esque plangency calving to stoner rock riffs in ‘Mar 27, 16’, and the final 10 minute krautrock fusion blow out of ‘Aug 18, 95’.