11.10.21 by Jacob DeRaadt
Tabs Out | Mot – Defect
Mot – Defect
11.10.21 by Jacob DeRaadt
Mot is the sound world of Canadian visual artist Paul Van Trigt, whose art has been spreading like wildfire in the noise underground, gracing covers of labels worldwide. First side opens with some lo-fi turntable abuse interspersed with ripping physical textures, some stop and start punctuated with what sounds like digital delay feedback and a mangled vocal sample. Overlapping tape loops of low-end drones and scrap metal melodies. Great elements, some good movement, nothing overstaying its welcome.
The second side is where things really start to get into a groove. Shrill feedback tones bouncing in and out of a spinning vortex. …Silence… Underwater movements are evoked by contact mic’d textures with a filmy bass tone sitting on top like pond muck. Junk metal and feedback slowly coming up in the mix, then a quick shift to more junk metal and drones that evoke violins on downers. Best parts of this tape are the scrap metal abuse and hovering drones. Looking forward to more from this project.
First edition sold out.
Second edition sold out.
From Cruel Symphonies.
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11.8.21 by Matty McPherson
Tabs Out | Asemix – s/t
Asemix – s/t
11.8.21 by Matty McPherson
“Where I End and You Begin” is both the title of a Radiohead track as much as it is the perennial descriptor phrase when talking about Asemix’s legendary debut Asemix. More Eaze and Nick Zanca came from two vastly different spheres. They may have never met in the flesh to date, yet they’ve struck up a collaborative partnership over COVID, intermingling through the ol’ Slovenian TMT-affiliated outpost Warm Winter Ltd. Their debut features both of their respective sound palettes (Zanca has left heady breadcrumbs regarding the pop and sonic influences) in such a seamless lock that radiates a luminescent quality to it.
The blurring of the lines between the two leaves the album in a floaty, spacious black hole. It’s a space where improvisation and rehearsed composition, as well as minimalism and maximalism could be one and the same. Their long form pieces were crafted out of field recordings and synth odysseys and other various dirges thrown through digital patches. When it came out on the other side, it unexpectedly carries that feeling of a dialogue from a distant starship’s black box. One that is all shiny and computer controlled–but just absolutely on the fritz of collapsing in on its own coded responses. Scatterbrained, in the good way.
It even recalled Dainel Wyche’s “The Last Flight of the Voidship Remainder,” but that was a loud guitar-based sonic music–and my comparison is more chance coincidence than surefire fact. Zanca and Maurice are DAW-heads and their synth oriented bleeps n’ bloops can more often than not move down tantalizing low-end oriented pathways. The way a ghostly aberration forms out of the lights of “Phantom Lung,” how those synths rupture and bubble on “Rehearsal Earthquake,” how an underlying bass line channels into a crescendo on “Communal Nude,” even the overarching manner as to how damn whirly the tape sounds! It all moves it beyond a mere monotonous exercise and into a subconscious deep listening exercise. There is a brevity and curiosity imbued that makes it one of the most enticing emo-ambient listens in recent memory.
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11.5.21 by Jacob DeRaadt