Oooooowww when I catch wind of new Unifactor Tapes [licks lips]!! Ooooooowwwweeee I go batty [licks lips even harder and wetter]!! I start sucking theoretical BBQ sauce off my fingers. Why? Because Unifactor is a bulls-eye clearing house for OG midwestern kush and beyond. They employ a different artist to tackle graphic design for each batch, and have done so since their start in 2016. From set to set the look of their tapes ping pongs from googly-eyed birds to juicy cartoons to 3D wizardry and is always so very on point. [hardest, wettest lip licking ever].
Now imagine how I felt upon hearing of their upcoming batch of tapes, slated for mid-February. It’s so very 😋 and probably the most soothing trio from the label yet: Curved Light, Endurance, and Kyle Landstra. You want a taste? Sure you do. I see you licking those lips. Check out these ₮Ɽł₱₱Ɏ videos!
UF027: Curved Light – Airs of Modality
Heavy on both bristling uneasiness and a more demented rendering of new age tones, Airs of Modality captures Curved Light in a live rescoring of Hoichi the Earless, the third section of the Japanese horror anthology Kwaidan. Embodying the ominous ceremonial intensity and slow moving dread of the film, this re-envisioned soundtrack hovers with all the tension of the best horror soundtracks, detuning an ancient ghost story and even it’s 1965 film counterpart into something more sinister, plastic and panic inducing.
UF028: Endurance – We Can Sleep Now
“We Can Now Sleep” sees Joshua Stefane balancing a complex entanglement of modular synths and processed tapes, arranging a switchboard of destroyed voices and alien sounds with solid beams of tonal melody. The eight pieces wander various wastelands, quietly kicking at fossilized remnants of decayed cities. Throughout, there’s a grasp for memories that are out of reach, impressions that are now mostly dust or shed data. It’s unclear if the echoes of unfamiliar days are even real or just errant crackles rushing by in the emptiness, but the layers of obscured fragments and dark sonics blur into a compelling whole, zoning in from a place of deep isolation somewhere after time.
UF029: Kyle Landstra – Bloom Lake
Migrating to the Pacific Northwest after years in Chicago brought new light to Kyle Landstra’s crystalline sounds. Bloom Lake represents some of the first deeply devised sounds made by Landstra in his new environment, and while it’s not a dramatic reaction to some conceptually new life, you can’t help but hear some clouds clearing all the same. Recorded in real time, these two side long pieces slowly braid strands of reflection and acceptance. Drifting but bright, “Love In A Mist” stirs with a kind of restrained excitement that comes at the beginning of promising times. The title track communicates a darker side of the same excitement, but in a way that again suggests understanding more than fear, growth more than foreboding.
Gosh, if I didn’t know that Larry Wish ran Bumpy out of Minneapolis, I’d be all like, yuck, Larry Wish and Bumpy have their hands all over each other’s business. It’s gross. But since they’re essentially the same entity, we can let it slide this time, instead pretending those hands are waving in front of our faces and leaving chemtrails because I think we’re tripping hard off “-Ning Bugs.” This is so disorienting – I wanna get comfortable and slip into this tape; I want it to caress my every pop fantasy and nourish me like a candy bar. But no – it’s making me think!
Also caressing my every pop fantasy too, I guess. Just in a cockeyed fashion that I wasn’t necessarily expecting.
Larry Wish recorded “-Ning Bugs” (slang for hounds, not some sort of Fraggle creature that lost its “Light”) in 2012, and here we are in 2019 with its delightful new physical presence in reissued and (finally) mastered form. It’s like it’s never been gone, like it hasn’t been seven whole years since its kaleidoscopic and off-kilter melodies graced our ears. Not that we should be upset or anything – Larry Wish certainly has kept us sated for Larry Wish–related musicality, and pretty much everything he touches could be described with “kaleidoscopic” and “off-kilter melody,” like he were fronting the Electric Mayhem as they melted under a heat lamp.
“-Ning Bugs” teeters on the edge of naïveté, but as Larry describes it, it’s a knowing naïveté, like you’re aware that you don’t really have a grasp on anything. While that might sound bleak – and this is the kind of dead-of-winter philosophizing you might expect in January or February in Minnesota – it’s actually quite freeing: there’s a lot that you can embrace and experience with that worldview. And Larry Wish – whose real name is Adam Werven (what?!?) – flits back and forth among the blooming flowers he’s imagining and painting his sonic canvas with vivid, celebratory colors. He even covers Stone Temple Pilots. I dunno man, when you’re in the right mood, you can do whatever you want.
So wave those hands in front of your frickin face till you’re all wobbly, then embrace the technicolor weirdness of “-Ning Bugs” in all its resonant glory. There are 100 of these suckers just waiting to be purchased.
What were you even doing in science class anyway – sleeping, doing your algebra homework, standing in your open bookbag while your teacher’s head cocks confusedly and eyes narrow in bewilderment in frustration? All of the above? I was listening, paying attention like my life depended on it – and for all I know it does, sometime in the future – and sitting at my desk like a regular person without any weird personality glitches. Unlike Phil in his bookbag over there!
Phil always made me laugh.
Anyway, Euglossine, aka Tristan Whitehill, aka “Gainesville’s finest,” has been studying up on physics, reading a little bit about “Coriolis” and its attendant “Effect,” applying what he’s learned to a guitar-based tropicalia mélange that’s as refreshing as the breezes I’m about to discuss. See, turns out that if you’re in the Northern Hemisphere, the rotation of the Earth causes moving objects – in a practical sense, weather objects, like clouds, winds, etc. – to the right, but if you’re in the Southern Hemisphere, watch out! Those same objects will move to the left. Check out Wikipedia if you don’t believe me. Who needs textbooks?
As is his wont, Whitehill treats his guitar gently, caressing it, and also using synthesizers and saxophone (I’m guessing – who knows what’s real anymore!), caressing them as well, whispering romance through his fingers and across the frets, over the keys, dancing in the moonlight of a tropical shore. The Coriolis Effect causes the rainbow ribbon of his heart (and tape cover) to gently drift along with the ocean breeze TO THE RIGHT, because this is the Northern Hemisphere after all. Sand and surf and suntan lotion scents drift along the shoreline, and various margarita-based cocktails are served by indigenous crustaceans. Crabs mostly. Very helpful crabs, always slightly listing to the right…
Beautiful work as always by Mr. Euglossine. Pro-dubbed blue C37 tape with black imprints available at Hausu Mountain. Drops February 15, but Max and Doug are PROMISING the tape will ship “on or around January 23.” That’s a PROMISE! For now you can stream “Daylight,” though.
Bloor! I’m not gonna lie, that’s the exact sound I make when I spew all over the place. But this isn’t about me or the awful noises I make or the awful things that come out of my body or the awful mess I usually have to clean up afterward. This is about Bloor, an NYC trio that has, over the past few years, been honing their own set of stinking blurts and blasts while stunned audiences sit in shock … until they’re finished playing at least, then those audiences erupt into glorious applause. Pro tip: this is exactly what you want an audience to do after you’ve finished playing them some of your music.
Saxophonist Sam Weinberg (W-2) is behind Bloor, and he’s joined by guitarist Andrew Smiley (Little Women, Feast of the Epiphany) and drummer Jason Nazary (Little Women, Anteloper). Together they rip through the Bloor playbook, which here consists of ten tracks with names like “Bast,” “Defacer,” and “Liber Scivias,” all of which sound like ways to strip meat from bone. And that’s sort of what listening to Bloor feels like, like you’re heading face-first into some sort of industrial meat processor and you come out the other side with mostly bones showing. Taking cues from Arthur Blythe (to whom “Splice” is dedicated), Harry Pussy, Sonny Sharrock, and certainly the rest of the Astral Spirits roster, Bloor dismantles the ideas of traditional jazz and experimental music and repurposes bits of them for their own monstrous Frankensteinian creations. Always unnerving, never unnerved, Bloor make restlessness sound like the next frontier in philosophical composition – just how thoroughly can one band explore the rocks and crags and fissures of its potential?
Also, “Drolleries” refers to the “small creatures adorning the margins of 13th-15th century illuminated manuscripts.” That’s seems so weird and yet so appropriate somehow, like those little creatures were running around on the instruments and magically making them play with their passage.
“Edition of 150 tapes with ORANGE tape shell. Design by Jaime Zuverza.” It will NOT make you bloor or blurt or spew or whatever. Release date is January 25 on Astral Spirits. Please hurry!
I opened up a web browser and typed in “International Surrealist Bulletin,” and I was directed to the Ephem-Aural Bandcamp page. “Huh,” I said to myself. “The Fox News page looks weird.” I clicked “Buy Cassette” on the page, thinking it was a recently archived news story about walls or Russia or something. “Six dollars!” I exclaimed. “The news is worth AT LEAST thirty grand of my hard-earned money!” Three, zero, comma, zero, zero, zero, I typed. Purchased. Ephem-Aural is probably a Fox subsidiary.
Six months later, my tape arrived [Ed.: Tapes usually take a few days to arrive – don’t think it’ll take six months for this one], and I was surprised that it didn’t contain even a hint of my favorite talking heads … look I don’t really watch Fox News, is Hannity still on there? Who cares. The tape wasn’t Fox News, but it was worth the thirty grand. It just was a different International Surrealist Bulletin than I’d initially thought.
“Immanence” is actually an escape from the “surreal” “international” happenings around us, whether they appear in “bulletin” form or otherwise. Taking on an even MORE surreal surrealness than everyday surreality, “Immanence” is the first release by the New York artist since the excellent “Communitas,” and it continues the unrelenting attention grabbing of its predecessor. Building somewhat ambient soundscapes out of a variety of textures and timbres, International Surrealist Bulletin lays it on thick and heavy, a synthesizer cloud of doom and creep, even on the horns-and-melodica-laced “Nigleh” (those are probably not actually horns and melodica). Of course “Immanuel” breaks the spell by the end, a glowing track emerging from the long dark night, just like the Christ child on Christmas morn did hundreds of years ago.
Immanence: God living within and encompassing our universe. Immanuel: “God with us,” a name given to the Christ child. Wait, are we sure this ISN’T a subsidiary of Fox News???
We are sure. We are coated with the surreal until it loses meaning. Then we simply drift along upon the sublime. We are notified of nothing and everything, a paradox of informational awareness.
Grab a copy of “Immanence” from Ephem-Aural, and break your brain upon the unyielding rock of unknowability.
Ｋ Ｅ Ｎ Ｎ Ｙ ❖ Ｌ Ｏ Ｇ Ｉ Ｎ – Food Court Afterhours (Upgraded) (Cosmic Black Ltd)
Hubert Zemler – groove 8 (Outlines)
loopdrive – groove 9 (Outlines)
Dravier – Spirit Channels (Not Not Fun)
Bootlicker – Burial Practices (I Hate My Records)
Mistletoe – Vampyric Gaze 1918 (self released)
German Army – Mangas Coloradas (Muzan Editions)
Mirror of Nature – What the Photograph Reproduces… (Muzan Editions)
LXV – Payload (Anòmia)
Dearly Departure – Genesis (100% Silk)
Ki Oni – Loxodonta (Pyramid Blood)
Anastasia Vronski – A Birth Place is Not a Grave Site comp (No Part Of It)
Anyone involved in experimental music in the northern Delaware area should be familiar with Casey Grabowski. Casey has been involved with many projects over the years, both solo and collaborative, and as you’ll see here a whole boatload of projects / monikers. Casey was also an active visual artist, DJ, keyboardist, and zine enthusiast. Before he got sick, most nights he had something going on, whether it was going up to Philly to DJ, playing a local noise gig, playing keyboards in one of his bands, or doing visuals at a festival. Casey got around.
This all started to slow down as he was given the sobering diagnosis of stage 4 pancreatic cancer in early 2017. Throughout his long and harrowing battles with chemo and various other treatments, we’d miraculously often see him at shows. These shows physically took a great toll on him, but to him it was worth it. Over the course of his illness, myself and many others from the community would regularly visit him at home, and in doing so strengthened our bonds of friendship many times over. For me, Casey went from being a casual friend to an extremely close friend. He fought harder than anyone I’ve ever seen fight. Pancreatic cancer is one of the worst, if not the worst type of cancer. It is aggressive and relentless. Casey suffered unimaginably over the course of those almost 2 years, and I can’t begin to think about what he went through.
Today, I caught the news of Casey’s passing and decided it would be fitting (and therapeutic) to write a retrospective of the cassette tapes he’s released over the past few years:
Nearest – Beauty Spent (Trixine Corp. 6/28/14) Nearest was a synth-based, shoegazy darkwave duo featuring Casey & René Alpha. This C20 goes by pretty quickly with just 4 songs (we should feel lucky as most singles only contain 2 tracks), but it is very satisfying, and probably my favorite of the Nearest discography (there were 2 other albums released on CD, but we shall not mention them here lest we anger the cassette gods). This self-released tape on the imprint Trixine Corp. (the namesake of Casey’s zine from long ago) features very minimal synths and pulsing drums done with classic drum machine sounds. It is mostly instrumental, but every now and then you’ll get a nice reverb soaked vocal line performed by Casey. The Jcard and shell are hand-stenciled, and it’s quite a nice presentation all-around. This was played on episode 60.
A little backstory about this one. In 2015, Sean Stellfox sought out to create a run of 12 splits in an edition of 1 physical copy each. It was quite ambitious to curate 24 pieces of music for a single “batch” with such limited distribution. The plan would be to distribute all of the tapes at the infamous Voice of the Valley noise fest in West Virginia, and that people would “trade” each other for them and continue to do so in perpetuity. Unfortunately, I don’t think this panned out too well, as I’m sure everyone who got one of these tapes just took them home, listened to them once or not at all, and then put them on their shelf, ignoring the “trading” covenant that they had entered in to. I like to think that this tape will be unearthed one day by future noise historians, finally entered into the Discogs database, and returned to my descendants, who in turn will not trade the tape, thus continuing the rich tradition of not trading this tape. Oh btw, if you have this tape, please contact me. I’d really, really like to get a hold of it! I promise I’ll never trade it.
Oh yeah, the music. The A side features Secret Societies, a more experimental techno project of Casey’s. René Alpha would often accompany Casey in this project as well, as he did the evening that we recorded the thing. This recording was the first time that I ever jammed with Casey and René. The full jam lasted for about 3 hours in Casey’s amazing room of synths, but Casey, mercifully to the listener, reduced it to a 14 minute mishmash highlighting the most interesting moments. On the B side is the Indonesian collective Jogja Noise Bombing, bombing their noise. Stylistically, the A side and B side are quite different, but I think that makes this split work really well, and a lot of fun if you ask me.
Lonely City – Lonely City (Trixine Corp. 10/30/15)
Lonely City is my personal favorite project that Casey did. It was once again his brain-child but usually featured other artists playing non-synth instruments such as guitar, cello, horns…etc… I am very fortunate to have performed with Lonely City in August of 2018. This was the last performance Casey ever did to my knowledge.
As you begin to listen to this album it sounds very electronic, but if you listen a bit closer, you can make out a cello swelling in and out underneath all the synths and beats. The B side features more of an ambient drone and does not contain any beats. Altogether this album captures some stunning moods, and I’d highly recommend it, but good luck finding a copy. This edition of 30 was self released on Trixine Corp and as far as I can tell did not have a web release. The J card is made from an old map, and there is typewriter typing on the back. The shells once again have a stencil which is reminiscent of the Nearest cassette. Superb presentation. This was played on episode 78.
Secret Societies – s/t (End Result 7/8/16)
In 2016, Casey did 2 tapes on Philadelphia based label End Result so he got some nice pro-dubbed tapes out of the deal. The first tape was Secret Societies, this time featuring Casey solo, and doing some crazy abrasive rhythmic noise stuff. This is probably the harshest thing that Casey ever released. Tons and tons of oscillators all going at once! At times, the album does mellow down a bit and give you a bit of a break. At other times the sound is even somewhat tribal. Quite an excellent journey.
Obligate Surrogate – s/t (End Result 8/5/16)
Obligate Surrogate was Casey’s hardware-based techno moniker. This is the style he probably did best. Anyone who ever knew Casey knew how much he loved gear, particularly old keyboards. He would spend hours menu-diving on these tiny little displays not bigger than a calculator screen. Not many people can pull this off. You could play this alongside any of the greats of experimental techno / IDM and this would not sound out of place at all. This came out just 1 month after the Secret Societies tape and has the same pro-dubbed professional goodness, which stands in sharp contrast to his previous self releases. This was played on episode 92.
Discharge – s/t (Trixine Corp. 10/28/16)
Yet another moniker! Ok, now Casey is back to doing an extreme DIY release. This is a tape he just did for fun and released in an extremely small quantity. Each tape instead of a Norelco case comes with a very specifically crafted piece of wrapping paper folded and expertly taped to house your cassette without tearing the paper. I remember Casey remarking to me that these were really annoying to do. Could be why there was such a limited run of these things. As far as I know there were only 6 copies ever released. I dug up a picture that Casey posted on the Trixine Facebook page. Note, I believe this is only showing 3 of the tapes. My copy is not included in this picture. If you have one of these tapes, consider yourself very lucky.
The music on this one is pretty crazy. There is no rhythm at all, it’s dark, it’s drony and screechy. The A side eventually cuts off abruptly, and when you flip it to the B side it’s as if you never stopped listening. Most likely this recording was put together quickly, but I still enjoy the gloomy and weird vibes of this one. The wrapping paper is very fun and makes me think it’s my birthday every time I pull it out.
Tabs Out podcaster Joe Breitenbach has a little known imprint that he does called Flying & Magic. Want to get a hold of a tape? Good luck with that. You’ll need to contact Joe directly. There is no internet presence for this stuff, other than the stuff I added to Discogs, probably to his dismay. Sorry B, I can’t help myself.
This tape will turn out to be the last album Casey ever put out. It came out right at the time that he started getting very sick and was diagnosed. I’d say this tape is an appropriate follow up to the Obligate Surrogate tape that came out on End Result the year before. Stylistically it belongs in the same musical universe, but deviates enough from the previous release to keep it fresh. The vibes are very techno / acid and makes use of many of the tools in Casey’s vast tool shed of synths.
So that about wraps up my retrospective of Casey’s tapes. I must say I did greatly enjoy listening to them all again. It really did help with the mourning process and helped me remember the care, enthusiasm and craftsmanship that went into his music.
Casey also did a limited run of a Tabs Out series called Sonic Syrup. He was recording these in the midst of some of his most aggressive chemo treatment, and you can hear the wear in his voice. You should definitely check these out. Casey selects some grade A music, and his reviewing / spoken word style is quite different from the Tabs Out podcast that you may be used to hearing.
Rest in peace dear friend.
Casey’s wife Michelle has a GoFundMe if you would like to donate.
Cincinnati’s Whited Sepulchre Records is amassing quite a catalog in its short existence, and while you might be like, “Hey, those guys release vinyl!,” I’m here to steer you back on track that they also release cassettes too, so … chill. And chill you will, because if there’s anything that WS is known for, it’s their experimental ambient releases, among which John Atkinson and Sabriel’s Orb’s split nestles nicely. Each artist takes their time over their apparently allotted twentyish minutes, and each hits delightful and sustained moods as their audio dopamine courses through your headphones. And yes, do listen on headphones, not on some crummy computer or wherever you listen to podcasts.
It must be that Australian air – all that open space, all that outback ripe for walkabout, all that wilderness that gets inside John Atkinson’s blood and sends his mind on amazing journeys across space and history. The former Brooklynite and onetime member of (personal favorite, god “VoyAager”) Aa (aka big A Little a) decamped to the continent-state and drilled deep into the cosmic vibe, focusing on interstellar ambient synthwork, field recordings, and even soundtrack composition, such as “L for Leisure.” On his half of the split, he stretches the heck out, all the way, all the bloody way until he covers the vastness with his spirit. He becomes one with “Backwaves,” “Rye,” and “First Rain of the New Year,” making an almost spiritual connection with the world around him. There’s only one thing to do with this side – get lost in it. It’s easily done. I’m wandering through windswept grasslands while wind brushes the grain and a storm brews in the distance.
It must be that Salt Lake air – all that open Utah space, the salt flats ripe for walkabout, all that big sky that gets inside Willow Skye-Biggs’s blood and sends her mind on amazing journeys across space and history. Yes, this is a perfect pairing on this split, can you tell? Skye-Biggs has also been around, most notably as Stag Hare (personal favorite, god “Velvet and Bone”), and she a veteran, an absolute hero of the introspective ambient scene. Sabriel’s Orb is a continuation of that vibe, and Skye-Biggs attacks her side like a hornet’s nest of gentleness and empathy, her delicate synth pulses raining down like breezes across open water. Both “Secret” and “Holding” steadily portray the innerworkings of her being like a rain shower at dusk. Both make an almost spiritual connection to the world inside the mind of Sabriel’s Orb. There’s only one thing to do with this side – get lost in it. It’s easily done. I’m wandering down the silent lakeshore while wind brushes the surface and a storm brews in the distance.
This beautiful red-shelled tape is contrasted quite nicely by the yellow J-card – excellent design there by Dustin Bowen. Edition of 100, get yers!
I Hate My Records? That sure sounds awfully negative. I thought Londoners were supposed to be jolly. It’s frigging called Jolly Old London, right? We just did another Mary Poppins, didn’t we? So why the disMay from this tape label, run by Edwin and George from Werk? As an American, and therefore one who knows, I’m pretty sure the gloom has something to do with a thing they call “brexit.” They are tits over pudding for this brexit thing, which I believe is a sandwich that has beans on it.
No beans on the two cassette tapes IHMR released in 2018, which appear to be their first offerings since a 2016 tape by Tourist Fashion + Jake Wyatt. Welcome back! Nope, no beans. Just greasy, massive highways of catastrophe electronics. A double dose of slow-mo death cycles from freshman Bootlicker and sophomore Schwerpunkt (the title of their tape is the only positive take going on here: DON’T GIVE UP YOU CAN DO IT.)
Bootlicker – Burial Practices
Burial Practices is the first release from Bootlicker.
30 minutes of buzzing, droning oscillators; choking; bass pressure; juddering feedback; metal percussion; unidentified mechanical static; Hamburgerisms; digital ebb and flow.
We’re all trapped in the abyss – capitalism has made the world an ossuary. The landscape is haunted by ancestral modes of living that have lost meaning in the post-penicillin world.
Schwerpunkt – Don’t Give Up You Can Do It
‘Don’t Give Up You Can Do It’ is the second solo release from Schwerpunkt.
Following in the mould of previous release, ‘How To Be Saved And Know It’, this tape consists of two extended, freeform, pieces, one on each side. The tape finds Schwerpunkt, AKA George Rayner-Law, continuing the process based approach to sound common between Shwerpunkt relates and his contributions to his band, Werk.
Both of these pieces were improvised. Track A, ‘Don’t Give Up’, consists of a synthesised pulse running through a range of delays to create a dry, harsh, abyssal sound. Track B, ‘Your Success Is Guaranteed’, was made by gaffa taping a Bontempi organ to produce a constant drone, then micing the organ through delay, EQ and straight into a tape deck, to create a hyper-saturated sound – a quavering, dense block of noise. The contrast between the two pieces is very sharp – ideology of approach is the strongest link.
Both recordings sat in George’s archive, until enlivened by a new context – the trip to Tesco. Track A came on shuffle while in Elephant & Castle Tesco, and quickly became the preferred soundtrack to the threatened shopping centre. Indeed, both pieces are rapidly hasten the Gruen Transfer – the moment of confusion in a shopping centre where a consumer forgets their original intention and gets lost in retail. Sound best experienced as a soundtrack to the capitalism’s death rattle.
The artwork is based on a religious pamphlet, drawn from the artist’s extensive collection. The current trend in religious pamphlets is a co-option of ‘wellness’ culture and imagery – ‘wellness’ itself being part of the same death rattle of capitalism. This artwork is part of that trend – originally designed to look like a health pamphlet, then a flyer about God, now a record cover.
I listened to Clark Gable one time, and it was a bad idea. The “King of Hollywood” appeared to me in a vision as if he had just stepped out of “It Happened One Night” and handed me a cassette tape by CIA Debutante, claiming it was the latest missive from Edinburgh-based Czaszka (Rec.). “Sell me,” I said, not unkindly, but wary of this anachronism of an encounter. He winked – you can totally picture that Clark Gable wink – and said, “CIA Debutante sounds like Dead C on McIntosh but when they were only 25 years old.”
I woke in a pool of sweat with this gorgeous hunk of tape in my hand, and I stared at its lovely risograph-printed artwork (one of two alternate covers!) for what felt like an hour but was only forty-five seconds. Those words hung in my mind as I tried to shake the cobwebs of the experience and escape the apparition that apparently had nothing to do in the afterlife except push expertly crafted experimental outsider music on us rabid fans. I composed myself and entered the artifact into a “boombox,” flicking “Play” so quickly and effortlessly that barely any time elapsed between the time the tape entered the player and the sound came out. I’m that good.
Hits from the future, indeed. CIA Debutante chases the “eternally temporary composition,” running guitar, voice, synthesizer through the duo’s personal ringer, emerging from the trauma with an endlessly fascinating lo-fi blast of headache-made-sound-art. The low purple spectrum of devious fluctuations bubble and merge till it makes so much sense that a ghost whose best work was in the 1930s has to present itself to sell me. Gable didn’t have to go to all the trouble. Czaszka could’ve hired a promo guy (me, even) instead of a medium.
Wait, did I say it was a bad idea that I listened to Clark Gable that one time? I meant it was a GREAT idea.
Czaszka (Rec.) always fascinates. This burner is no different. Edition of 50 – which cover will you get?
Ｋ Ｅ Ｎ Ｎ Ｙ ❖ Ｌ Ｏ Ｇ Ｉ Ｎ – Food Court Afterhours (Upgraded) (Cosmic Black Ltd)
