Properly damaged ferric gear from Muscut, that zooms from ramshackle exotica into deep, psychedelic abstraction that touches Michel Redolfi's pioneering 70s/80s underwater music.
Only mere moments after Nikolaienko's ace exotica-themed "Nostalgia Por Mesozóica", Eyot Tapes approaches a similar theme on "Paradise Lost". Nikolaienko's album was created as an imaginary theme to a museum exhibition, while Alexander Green sees his compositions as a tropical fantasy, influenced by Tarzan writer and eugenicist Edgar Rice Burroughs. Unsurprisingly, some of the tracks then are a little tongue in cheek (we hope!), with 'Open the Book' and 'Jungle Tapes' sounding particularly close to mid-20th century exotica, but dubbed into wildly fluttered, pitch-fucked psychedelia.
The album really hits its stride in the second half, as the exotica elements are drowned in cavernous reverb or obscured by ramshackle electronics. 'Grog' is particularly inebriated, a staggering rhythm with rubbery synths that sounds like navigating home in clown shoes after a long night out, and 'Path of Snakes' sounds like a Tom Baker-era Doctor Who soundtrack. Flick to 'Lagoon' for a real treat though, a sub-aquatic microtonal feast that's a disorienting and brilliant as Michel Redolfi's "Underwater Music" and as druggy as Phoenecia's "Brownout". You know what to do.
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Properly damaged ferric gear from Muscut, that zooms from ramshackle exotica into deep, psychedelic abstraction that touches Michel Redolfi's pioneering 70s/80s underwater music.
Only mere moments after Nikolaienko's ace exotica-themed "Nostalgia Por Mesozóica", Eyot Tapes approaches a similar theme on "Paradise Lost". Nikolaienko's album was created as an imaginary theme to a museum exhibition, while Alexander Green sees his compositions as a tropical fantasy, influenced by Tarzan writer and eugenicist Edgar Rice Burroughs. Unsurprisingly, some of the tracks then are a little tongue in cheek (we hope!), with 'Open the Book' and 'Jungle Tapes' sounding particularly close to mid-20th century exotica, but dubbed into wildly fluttered, pitch-fucked psychedelia.
The album really hits its stride in the second half, as the exotica elements are drowned in cavernous reverb or obscured by ramshackle electronics. 'Grog' is particularly inebriated, a staggering rhythm with rubbery synths that sounds like navigating home in clown shoes after a long night out, and 'Path of Snakes' sounds like a Tom Baker-era Doctor Who soundtrack. Flick to 'Lagoon' for a real treat though, a sub-aquatic microtonal feast that's a disorienting and brilliant as Michel Redolfi's "Underwater Music" and as druggy as Phoenecia's "Brownout". You know what to do.
Properly damaged ferric gear from Muscut, that zooms from ramshackle exotica into deep, psychedelic abstraction that touches Michel Redolfi's pioneering 70s/80s underwater music.
Only mere moments after Nikolaienko's ace exotica-themed "Nostalgia Por Mesozóica", Eyot Tapes approaches a similar theme on "Paradise Lost". Nikolaienko's album was created as an imaginary theme to a museum exhibition, while Alexander Green sees his compositions as a tropical fantasy, influenced by Tarzan writer and eugenicist Edgar Rice Burroughs. Unsurprisingly, some of the tracks then are a little tongue in cheek (we hope!), with 'Open the Book' and 'Jungle Tapes' sounding particularly close to mid-20th century exotica, but dubbed into wildly fluttered, pitch-fucked psychedelia.
The album really hits its stride in the second half, as the exotica elements are drowned in cavernous reverb or obscured by ramshackle electronics. 'Grog' is particularly inebriated, a staggering rhythm with rubbery synths that sounds like navigating home in clown shoes after a long night out, and 'Path of Snakes' sounds like a Tom Baker-era Doctor Who soundtrack. Flick to 'Lagoon' for a real treat though, a sub-aquatic microtonal feast that's a disorienting and brilliant as Michel Redolfi's "Underwater Music" and as druggy as Phoenecia's "Brownout". You know what to do.
Properly damaged ferric gear from Muscut, that zooms from ramshackle exotica into deep, psychedelic abstraction that touches Michel Redolfi's pioneering 70s/80s underwater music.
Only mere moments after Nikolaienko's ace exotica-themed "Nostalgia Por Mesozóica", Eyot Tapes approaches a similar theme on "Paradise Lost". Nikolaienko's album was created as an imaginary theme to a museum exhibition, while Alexander Green sees his compositions as a tropical fantasy, influenced by Tarzan writer and eugenicist Edgar Rice Burroughs. Unsurprisingly, some of the tracks then are a little tongue in cheek (we hope!), with 'Open the Book' and 'Jungle Tapes' sounding particularly close to mid-20th century exotica, but dubbed into wildly fluttered, pitch-fucked psychedelia.
The album really hits its stride in the second half, as the exotica elements are drowned in cavernous reverb or obscured by ramshackle electronics. 'Grog' is particularly inebriated, a staggering rhythm with rubbery synths that sounds like navigating home in clown shoes after a long night out, and 'Path of Snakes' sounds like a Tom Baker-era Doctor Who soundtrack. Flick to 'Lagoon' for a real treat though, a sub-aquatic microtonal feast that's a disorienting and brilliant as Michel Redolfi's "Underwater Music" and as druggy as Phoenecia's "Brownout". You know what to do.