Duo of Black Dice members Aaron Warren and Bjorn Copeland, sticking it out in Los Angeles. They definitely channel out some of the quirky, choppy, dirty robot beats and electronics that Black Dice brought, but also incorporate sound clips, muffled words and random samples in a semi-Negativland type way – but more broken and skewed. Greatly sizzled and fried with deep looped rhythms.
Glorious, beautiful, stunning synth sounds from Nico Georis. His interpretation of Terry Riley’s Rainbow In Curved Air is lovely – trickling rainbow icicles floating on candy clouds. The other 3 tracks are originals – Vapor is a “plant music duet” that features Nico playing along with the plaintive washes of sound produced by a cannabis plant connected to a Plant Wave device. Turns out cannabis is floating high in musical talents as well. He had spontaneously played it over his Big Sur based pirate channel, Milky Way Radio. The final 2 tracks are based off slot machine samples. Twinkling electronics and magical game bubbles to the max. This might have been channeled directly from my brain that one time I was on Ecstasy in Vegas…
Uncomfortable listening from Québecian Gilles Gobeil. A cacophony of field recordings and found sounds. You’re a fly on the wall in someone’s home, a factory, car warehouse… bursts of intricate sounds tickle your inner ear, while you wildly imagine what the hell is going on. Layered foggy synths and sounds accompany, but the game of figuring out what you’re hearing is key. A fine musique concrète experience.
Los Angeles based minimalist, Richard Chartier. Slow, murking lurky droned out passages that raise your neck hairs as if a ghost is whispering dear nothings in your ear. ‘Hauntological compositions’ as he describes. Low tones and dream like states. Washes of ambience. What your mind might start to hear as you drift in a self deprivation chamber. It’s not scary or menacing, but reflective and gloomy. Lost in space.
Cassandra expands on a track from her release ‘An Overview On Phenomenal Nature’ and creates two side-long ambient pieces, full of wonder and magic. She’s a sax player, so there’s gentleness that flows in and out from the brass. Twittering birds, that when wearing headphones really makes you feel like they’re right next to you, goosebumps! Trickling piano. Field recordings from Central Park (nyc) and the woods in upstate NY. Side B is more tranquility, this time in the comfort of crickets.
Tutti, Cosey Fanni – “Delia Derbyshire: The Myths and The Legendary Tapes” – [Conspiracy International]
Delia Derbyshire: The Myths & The Legendary Tapes is a ‘conceptual and atmospheric journey into the legacy and character of electronic music composer/sound pioneer Delia Derbyshire’. The film was written and directed by Caroline Catz, who also stars in the film. Soundtrack from the great Cosey Fanni Tutti (Throbbing Gristle, Chris & Cosey). Music is performed by Cosey, as well as Delia’s own creations which were constructed from samples chosen from Delia’s posthumously discovered “Attic Tapes”. It’s pure science fiction bliss. Synths and tape manipulations and knobs and twiddles. She was the composer of the excellent Dr. Who theme, and did extensive work with the BBC Radiophonic Workshop, and those intergalactic sounds follow through on this. More exploratory than song in nature, you might accidentally dial an alien spaceship while playing this on the airwaves.
Wow, this is the ultimate space age bachelor pad fantasy music! Magical, intergalactic synth fueled lounge electronica from the year 3032 (ok, 1998…) All instrumental & groovy as hell. Definitely turn on that lava lamp, and throw down some shag rugs. Mitch Lemay might have a spare leisure suit or 2? Perfect little tracks to add a little sparkly sunshine to your playlist. Bartender, cosmo please!
Javelosa apparently also has publications and teachings on topics such as production for Video and Computer Games, Game Industry Analysis & Producing Music for Interactive games.
Long form improvisations on a Yamaha PSS-270, slowly thrusting you into the cosmos. Pillars Of Creation takes its name from the iconic 1995 Hubble Space Telescope photo, definitely look that up to create the mindset for these sounds. Otherworldly synths float on top of large gas bubbles of bass. Meditative and serene. Drifting along the astral planes of sparkly space crystals. Solo project of Matt LaJoie who ‘cites intuition and accident as foundational to the Thick Air genesis, trusting the freefall process of creation and decay, motion and miasma.’
Pandemic-driven experimental-noise-audio collaboration started in 2021 from the trio of Chris Dodge (Spazz), Mason Jones (Subarachnoid Space, Collision Stories, Numinous Eye) & William Rage (Blue Sabbath Black Cheer, At Jennie Richie, New Blockaders, irr.app.(ext.) – last names make the project. It’s power electronics pushed to the max. Turn ’em all on at once, slowly turn the knobs, scream a distorted moan and blast your fucking ears off. Not a complete white wall wash, there’s hidden undertones of sanity. Sizzled & churned, burnt to a crisp. Delicious.
Mary’s a harpist who resides in Los Angeles, while Growing is an ambient drone band that’s been around for years, originally from Olympia, now in Brooklyn. Unsure how this collaboration came about, but it’s fantastic. Floating in the heavenly golden trimmed clouds, with lush waves of undertones and glorious droned harmonies. Side A wafts in such a comforting way, it sounds like the track itself is breathing. Goosebumps and butterflies. Side B showcases Mary’s harp playing beautifully.
Jazzy hip hop raps from some crate diggin’ dudes. The Soul Providers are a duo (Jason Skills & Soulo) that hailed from San Diego, citing Gang Starr and the Native Tongue Posse as influences, although I get major De La Soul vibes as well. They collaborated with emcee Surreal for this release, back in 2006. Great storytelling lyrics that seem uplifting and happy, almost wholesome but not like, dorky. He’s not getting gansta….in one song he’s talking about his life and it seems he found God, but it’s not an overwhelming theme throughout. The beats are jazzzzy and sick! Fun rekkid!
Jolly-ful playful rhythms layered over a locked beat. Synth kittens on the keys and head knodding knob twiddling squirrels. Psychedelic electronica trips. Flickering MIDI sequencers. An improv duo, usually recorded all live in studio, no dubs. Zachary James Watkins (Black Spirituals) & Ross Peacock, who met in Oakland and started recording together. Excellent!
Deliciously decayed sounds from Jo Montgomerie, of Manchester. She originally planned on being a concert pianist, but ended up falling into the world of sound design, foley work, and post-production. Utilizing objects around her home as well as connecting contact mics to her own body, she creates snaps, cracks, sizzles and delectable drones that waft through open steel warehouses and cold dark places. Industrial ambience, forlorn fevers.
Duo project from Howard Stelzer & Brendan Murray. Fogged out, icy drones created by their subconscious. Murky, ominous, haunting and mysterious. Track 2 has a bit of The Black Lodge feel, with whipping shadows and ghostly words. Effected sounds, drenched in pedal delights. Hypnotizing dream states.
It’s a downtempo, trip hop excursion floating through magic hour pastel hazed clouds, straight from Moscow. Chilled, laid back beats in half time… the feeling after that first sip of Cabernet. Subtle, sublime, summer synthy splendiferous-ness.
A humorous blend of electronics, strings, rhythm & cut up sounds. Duo of Paul de Jong and Nick Zammuto, out of New York. The story is that they’d scout out old home recordings, vhs and cassettes from estates, thrifts and sales to use as their samples. It creates a fun listen akin to People Like Us, Negativland & Bran Flakes with a dash of electronic quirk of Matmos. A few have some singing, on the indie tip. Laptop pop, with a twist!
Chaotic yet rhythmically cohesive. Layered sounds, pulsing, throbbing and churning through loopy electronics and sandy beats. Each texture glides through their own world, yet all come together in tendriled form. Vapor waved but with a side of coke. Enchanted vortex of swirls and twirls.
Low ambient droned industrial noise portrayed by Ana Fosca (born Linn Hvid) out of Copenhagen. Pedals, computers and synths meld together to create an ominous inferno of destruction. She’s dark and creepy, evil and sinister. Lurches and swells of wafty textures tendril through machinery warehouse echoes. Effected vox with unintelligible words. Cavernous screeches and heavy weight. Fantastic.
Solo synth and drum machinery from John Touchton, of Florida. Dystopian midnight hovering car rides in swampy neon-lit cityscapes, 100 degree minimum. Razor sharp melodies intertwine and weave through synth drenched rhythms. Recent descriptions of equal parts synth-wave séance, abduction hallucination, and paranormal noir. Drift + Lift.
Recorded live in 1989 without any overdubs. Long, ambient slow knob turning and sound shifting electronics. Very much in the vein of Tangerine Dream, Vangelis & Klaus Shulze. Extended notes that intertwine and weave through like stars in light speed. Slithering synths. Sci-Fi soundtracks of the past. Mastered for vinyl by Krautrock musician and sound engineer Eroc.
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