Tabs Out | Proud/Father – Symbolic Exchange and Emptiness

Proud/Father – Symbolic Exchange and Emptiness

2.14.19 by Tony Lien

Simply put, there’s a staggering amount of ambient/soundscape/drone albums out there — and an unfortunate number of them just aren’t worth listening to. It’s a genre that can easily be exploited by the lazy or the uninspired — due to both the ease at which the music can be made and the generally low cost involved in its production. I’ve said it before, and I’m saying it again now. I’ll probably even say it a couple more times in the not too distant future.

Now that I’ve gotten that out of the way, let’s discuss what makes the good ambient/soundscape/drone albums worth our time — as listeners.

When it comes to this (sometimes challenging) genre, I feel that a story (or at the very least, a theme) is essential to the creation of a compelling album. What would Brian Eno’s “Ambient 1: Music For Airports” be without the inherent imagery of stagnant terminals, buzzing fluorescent lights and weary travelers’ faces? Just this little bit of extra effort — outside of the music itself — can do wonders for album’s overall effectiveness and emotional impact.

This all comes to mind for me when experiencing “Symbolic Exchange and Emptiness by Proud/Father — most definitely one of the good ones.

The tape’s liner notes read: “The first side is a reflection of isolation, both physical and emotional, from depression and similar mental health disorders… The second side is an exploration of the fading Boricua culture and the history of Puerto Rican independence movements.”

Just those few sentences alone tell a story that traces and illuminates the contours of the tape’s surprising amount of sounds and textures that whisper gently through the warbles and hiss. Soft wind that blows through open windows at night. Lonely lullabies. The endless vibrations of nearby urban traffic. Uneasy dreams. A colorless world that plays on like an old silent movie. Voices drowned and unintelligible — lost to ignorance, apathy, or clueless governmental administrations.

It does you a minimal amount of good merely reading a brief description of such a towering, beautiful album.  As of writing this, there are still five copies of “Symbolic Exchange and Emptiness” left via the always thoughtful Orb Tapes (out of central Pennsylvania). Give them your money and allow Proud/Father to tell you a story.

Tabs Out | No Rent Records shares samples from upcoming tapes

No Rent Records shares samples from upcoming tapes

2.13.19 by Mike Haley

No Rent Records has stacked up a formidable catalog since it’s rehabilitation just few years back. With their upcoming five tapes (or “jawns” being that they are located in Philly now) No Rent will smash through the 100 release mark. The lineup is quite a party:

NRR97: Mukqs
NRR98: Rusalka
NRR99: Climax Denial
NRR100: Lt. Col. Cooter
NRR101: Paranoid Time

The tapes will be available in February, starting on the 19th with Mukqs. For now you can go Black Mirror style and watch these videos on loop until you pass out.

Tabs Out | HAWN – For a Ride

HAWN – For a Ride

2.13.19 by Ryan Masteller

What did we do to deserve this? We weren’t that good, were we? We’ve grumbled a lot, acted pretty cynical, didn’t do a good job with voting for government, called each other some names that are gonna be pretty hard to take back (in fact, you should see my Twitter PM thread with TO HQ). And yet here we are with HAWN (no relation), and their latest tape “For a Ride.” See, HAWN not only released their tape on one of the coolest tape labels going at the moment (Strategic Tape Reserve, both a personal and Tabs Out–wide favorite), the duo also features vocalist Michael Jeffrey Lee, who also happens to be half of Budokan Boys, whose “That’s How You Become a Clown” tape on Tymbal last year landed HIGH AS HECK on my 2018 personal lists and also HIGH AS HECK on Tabs Out’s Top 200 Tapes list. You don’t take that lightly – we’re tastemakers around here.

Hopefully all this Budokan love doesn’t detract from Lee’s partner in crime in HAWN, the illustrious John Craun, who not only has a name that rhymes with HAWN but also has the synth game DAWN … er, DOWN, in this crew, “crossing hot wires in the cold mortuary of tradition since 2010.” I wish I had written that, but I didn’t. I WILL write something along the lines of, “HAWN done good on tapes today,” but … no, that description doesn’t hold a candle. Still, when we compile our 2019 lists, we should remember to look all the way back to January to ensure we accurately capture “For a Ride” in our archives for posterity, ’cause we’d be fools not to.

“For a Ride” is definitely a tale of two personalities vying for attention but instead weaving around one another’s contributions, sharing the songwriting spotlight like well-behaved musicians who don’t complain every time somebody crams their awesome vocal take with like a million tracks of backing vocals. (Sorry, that one was on me. Personal experience.) Here, Craun prepares the foundation of sometimes delicate, sometimes swerve-y electronics, heavy, glitchy, fully textured, creating the mood, laying the groundwork. Lee arrives in all his Joel RL Phelps-meets-Craig Wedren glory, undaunted, telling tale after NOLA tale in the heat and the haze. Is there a story about the legend of Tommylee Lewis and that devil Nickell Robey-Coleman? Shh, shh. Time will tell.

Speaking of stories, there’s also this little nugget: “The album is dedicated to Alex Chilton, who, in the last decade of his life, would occasionally appear at the Thai restaurant where Craun and Lee worked to order a Pad Thai, with beef” … which of course is a WAY BETTER story than me running into Annie Lennox at the grocery store that one time. See? Look at me, still grumbling. For no reason.

“For a Ride” is available in an edition of 70 from STR – be sure to just buy, like, everything that’s still available on the Bandcamp page.