Giuseppe Ielasi joins Error Broadcast with the frayed, hip hop-oriented loops of Inventing Masks following their issue of Sela’s excellent First album in 2015.
Like a wonkier, bristling parallel to Jan Jelinek’s Loop-finding-jazz-records or earlier Pole albums, this album finds the esteemed mastering engineer and member of Bellows applying patented, grid-warping sensibilities to liquify your neck in six rough-edged but sweetly-minded cuts that bubble with a sort of semi-organic animation.
They variously range from scuffed, grubbing bass grooves offset with woodblock and squirming ‘tronics in 3’ 34” to the lop-sided camshaft lean and hollow knock of 4’ 32” up top, to take in music box melodies and whirring ambient ghosts redolent of a buckled SAW II in 4’ 18” or like some quasi-speed Burial with 6’ 48”.
It’s the sort of subtly agile, crooked business that reveals new fissures and half-cut motifs with each listen, and we’d imagine it sounds great when consumed in smudged, altered states.
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Giuseppe Ielasi joins Error Broadcast with the frayed, hip hop-oriented loops of Inventing Masks following their issue of Sela’s excellent First album in 2015.
Like a wonkier, bristling parallel to Jan Jelinek’s Loop-finding-jazz-records or earlier Pole albums, this album finds the esteemed mastering engineer and member of Bellows applying patented, grid-warping sensibilities to liquify your neck in six rough-edged but sweetly-minded cuts that bubble with a sort of semi-organic animation.
They variously range from scuffed, grubbing bass grooves offset with woodblock and squirming ‘tronics in 3’ 34” to the lop-sided camshaft lean and hollow knock of 4’ 32” up top, to take in music box melodies and whirring ambient ghosts redolent of a buckled SAW II in 4’ 18” or like some quasi-speed Burial with 6’ 48”.
It’s the sort of subtly agile, crooked business that reveals new fissures and half-cut motifs with each listen, and we’d imagine it sounds great when consumed in smudged, altered states.
Giuseppe Ielasi joins Error Broadcast with the frayed, hip hop-oriented loops of Inventing Masks following their issue of Sela’s excellent First album in 2015.
Like a wonkier, bristling parallel to Jan Jelinek’s Loop-finding-jazz-records or earlier Pole albums, this album finds the esteemed mastering engineer and member of Bellows applying patented, grid-warping sensibilities to liquify your neck in six rough-edged but sweetly-minded cuts that bubble with a sort of semi-organic animation.
They variously range from scuffed, grubbing bass grooves offset with woodblock and squirming ‘tronics in 3’ 34” to the lop-sided camshaft lean and hollow knock of 4’ 32” up top, to take in music box melodies and whirring ambient ghosts redolent of a buckled SAW II in 4’ 18” or like some quasi-speed Burial with 6’ 48”.
It’s the sort of subtly agile, crooked business that reveals new fissures and half-cut motifs with each listen, and we’d imagine it sounds great when consumed in smudged, altered states.
Giuseppe Ielasi joins Error Broadcast with the frayed, hip hop-oriented loops of Inventing Masks following their issue of Sela’s excellent First album in 2015.
Like a wonkier, bristling parallel to Jan Jelinek’s Loop-finding-jazz-records or earlier Pole albums, this album finds the esteemed mastering engineer and member of Bellows applying patented, grid-warping sensibilities to liquify your neck in six rough-edged but sweetly-minded cuts that bubble with a sort of semi-organic animation.
They variously range from scuffed, grubbing bass grooves offset with woodblock and squirming ‘tronics in 3’ 34” to the lop-sided camshaft lean and hollow knock of 4’ 32” up top, to take in music box melodies and whirring ambient ghosts redolent of a buckled SAW II in 4’ 18” or like some quasi-speed Burial with 6’ 48”.
It’s the sort of subtly agile, crooked business that reveals new fissures and half-cut motifs with each listen, and we’d imagine it sounds great when consumed in smudged, altered states.
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Giuseppe Ielasi joins Error Broadcast with the frayed, hip hop-oriented loops of Inventing Masks following their issue of Sela’s excellent First album in 2015.
Like a wonkier, bristling parallel to Jan Jelinek’s Loop-finding-jazz-records or earlier Pole albums, this album finds the esteemed mastering engineer and member of Bellows applying patented, grid-warping sensibilities to liquify your neck in six rough-edged but sweetly-minded cuts that bubble with a sort of semi-organic animation.
They variously range from scuffed, grubbing bass grooves offset with woodblock and squirming ‘tronics in 3’ 34” to the lop-sided camshaft lean and hollow knock of 4’ 32” up top, to take in music box melodies and whirring ambient ghosts redolent of a buckled SAW II in 4’ 18” or like some quasi-speed Burial with 6’ 48”.
It’s the sort of subtly agile, crooked business that reveals new fissures and half-cut motifs with each listen, and we’d imagine it sounds great when consumed in smudged, altered states.