Karl Fousek 'Codicil' C20 (Adhesive Sounds)
edition of 50 / tinted clear pink shells / pro-dubbed on cobalt
Body Lvl / Hobo Cubes split C30 (Adhesive Sounds)
edition of 50 / color jcard and labels / pro-dubbed on cobalt
Demonstration Synthesis 'DS11' C40 (Adhesive Sounds)
edition of 50 / color jcard and labels / pro-dubbed on cobalt
Maharadja Sweets 'The Cassette Label Heads Who Went Outside' C48 (Moss Archive)
"An uncanny tale about a small tape label and the lengths at which they will go for their vision. Richard immediately cuts to the core of what it is for us to share creation and ultimately thrive as humans. Featuring a stark and utterly beautiful theme song made with Seth Graham (Orange Milk Records, Cream Juice)."
Grasshopper 'Dark Sabbath: Symbols of Evil' LP (Hausu Mountain)
"slow-brooding exercises in tonal juxtaposition and structural drama, building from fields of pure texture and disfigured synthesis into crushing fanfares of trumpet-charged triumph best suited to herald the dawn of the apocalypse. Manning an intricate rig of boutique synthesizers designed by Telecult Powers spirit guide Mr. Matthews, DeRosa spews forth finely grained drone voices and keening oscillator bursts alongside the output of his trumpet and Electronic Valve Instrument (a synthetic trumpet known for its alien tones)."
Tiger Village 'V' C43 (Hausu Mountain)
"Thornton’s compositions dart through progressively complex passages animated by iridescent leads and structural feints that shatter our expectations of any logical resolution. Disparate drum patterns layer together into rhythmic organisms that clatter through his busy mixes in a state of constant flux. Fragmented melodies pop into view amid panning drone pads and arpeggios, subsuming quadrants of the spread into dense harmonic clusters possessed of too much detail to fully glean on first playback. "
Dreamcrusher 'Suicide Delxue' C42 (Hausu Mountain)
"Dreamcrusher bashes through the mutant techno idiom from multiple points of attack, boosting the noise factor beyond any conception of sanity while honing their compositions into tightly structured corruptions of the pop form."
Mukqs 'どうか Please Can You Keep My Secret' C35 (Patient Sounds)
Mukqs (Max Allison of Good Willsmith / Hausu Mountain) shares first material on Patient Sounds with this tape. The two sides act as two modes, one focused on information sharing, sampled melodies, isolation, low frequencies...the other a rippling jaunt into screeching vocal noise, decapitation, tape sound execution. Two edges to a blade. Soft yarn, soft light, soft blood.
夕方の犬 (Dog in the evening) 'mb_s_4_ch' C48 (Patient Sounds)
This shadowy and prolific Japanese producer appears with their first proper release. Harkening to fleeting emotional anime soundtrack motifs, minimal luminous midi tone phrase clusters, languid sampling atmosphere. The pang of evening lights. A child speaks. The bittersweet dog in a walking apparatus. Memory is an orange I peeled. Morose white blue.
Giant Claw 'Dark Web' LP (Orange Milk)
Composed primarily through intricate MIDI notation and sampling, Dark Web could be viewed through the tradition of hyperrealism, where established cultural tropes and recordings are cut up and stitched back together as new compositional tools. Dark Web expands the concept by muddling the line between sampled material and newly composed fragments, packing realities and layers of cultural data into each musical instance.
Jerry Paper 'Big Pop For Chamaleon World' LP (Orange Milk)
Jerry Paper’s Big Pop For Chameleon World is a sonic riddle. Through both lyrics and specific timbral choices (a marked shift to digital synthesizer from Jerry’s earlier analog work), the album deals with themes of simulacra, an inter-dimensional infinite man existing in a finite world, the discomfort of existence in Body World, and love as the pinnacle of our time here. It is a continuation of Jerry’s ongoing attempt to ‘talk about’ the anti-logic of mystical experience through the ‘grammar’ of pop music, this time using album-form and timbre as a more central part of the overall language of the work.
Charles Barabé 'Dates & Confessions' CS (Tranquility)
Hailing from Victoriaville, Charles Barabé is a unique standout among a crop of incredibly talented rising experimental musicians based in the province of Quebec. Dates & Confessions features an eclectic and ecstatic variety of sounds that add up to one beautifully disorienting release. The cassette consists of four "Dates", which are tightly composed melodic pieces featuring synthesizers, found sounds, subtle acoustic instrumentation, and Barabé's heavily vocoded voice. Six "Confessions" round out the affair with looser, more improvisational and dissonant approaches to synthesis that act as appropriate foils. With the keen ability to combine elements of musique concrète, modern composition, prog, and much more, Barabé continually ratchets up the intensity throughout the release, leading up to a gorgeous, spacious finale that allows you to catch your breath and reflect on all that came before.
Cenote Glow 'Musa Paradisiaca' C60 (Tranquility)
The first release from Cenote Glow in about a year, Musa Paradisiaca blends synthesis and field recordings for a deep tropical journey. With sounds both captured in Mexico and recorded in Brooklyn, the release evokes the enriching warmth of the Yucatán Peninsula at times and the darker heart of the natural world at others. Sonically, found sounds are featured more in the foreground than previous Cenote Glow excursions, as musical passages flow between melodic effervescence, oceanic drones, and hypnotic whirlpools of abstract sound. Come ashore for an hour of memories and interpretations inspired by the uniquely beautiful land known as Quintana Roo.
Giant Claw '22M Never Felt So Alone' C24 (Suite 309)
"Four dancefloor anthems like only Keith Rankin can deliver. Plays like a 12" of extended Giant Claw dance mixes."
Radio Shock 'Romanse is the Death of Intellect' C24 (Suite 309)
"Using a ramshackle array of cheap, beat-up electronics, a guitar and lots of neon tape, MP Lockwood is Radio Shock. Most of these songs follow a loose pop structure, with unruly synths almost always bubbling over the mix. Guitar is incorporated in several ways, from no-wave noise to fractured post-punk to Andrew WK-esque riffing."
Splice Girls s/t C34 (Suite 309)
"A song-by-song re-imagining of the Spice Girls' debut album using tape in place of a sampler. Mel D - Tapes, Mel Z - Mix. The flip side is the first side in reverse."
Wes Tirey / Andrew Weathers split CS (Scissor Tail Editions)
"Wes Tirey has teamed up with North Carolinian Andrew Weathers to put out an experimental folk/drone split on Scissor Tail Records. Tirey’s track, ‘My Grandfather’s 12 Gauge,’ is the shorter of the two, despite clocking in at over ten minutes. Listeners familar with his traditional sound will be delighted with the intricate guitar work that conjures images of a dusty, all-American west. Weathers’ ‘Stay 100,’ which notches an impressive twenty minutes, is more of an electronic folk song, with his guitar work supported by gentle drone. It’s interesting how both tracks play off one another, with the slight changes highlighting the progression of conventional folk music. It would be interesting to see the idea taken further, starting with Tirey’s classical finger-picking and eneding with electonic and/or rock music, with each track tracing a step in th evolution and development of traditional folk music."