Tabs Out | Dinzu Artefacts June 2023 Trio

Dinzu Artefacts June 2023 Trio

6.6.23 by Matty McPherson

I’ve found myself finally coming out of a bit of a crunch period, recovered and back to hearing esoteric sounds with gusto once more. Being in touch with label pals also helps, but the recent era of Dinzu Artefacts has been notable for its consistent peaks and tantalizing potential that the batch promises. Unifactor used to hold this power more so, but I truly cannot anticipate what Joe’s curation with the artists he’s working with will happen to build off a mental crumbs or notions of what dedicated tape label curation can afford us. For the 2023 June batch,m Dinzu Artefacts calls to certain “otherness” found within geological accidents, both manmade and of natural evolution, ending up with a definitive era peak.

Mattie Barbier – This is What People Think Mountains Look Like

San Diego’s marine layer was in full force during the month of May. Enough so that it appears to be staying into a traditional “June Gloom”. The kind that imparts a morning mist, rather unfavorable laundry drying conditions, and a long standing call for the slowest of cinema. Your “El Sur”s and Leviathan (2012, although 2016 is upstanding work). Mattie Barbier has successfully concocted the kind of drone akin to the diving rod of the former, as much as the camera cinematography of the latter, within this one outstanding piece, This is What People Think Mountains Look Like.

40 minutes of sustained trombone drone is going to seem like an appetizer when you’re coming off of 3 hours of pondering just whether or not Spring Does Hide Its Joy. But over recent evening, I’ve come to desire keeping this in rotation. Barbier’s recording, dated from June 2021 a the Tank Center for Sonic Arts in Rangley, Coloado, is an unequivocal production dream. It also just happens to reflect a fragment of 20th century Americana repurposed into something beyond this mortal coil; a futurist silo of sound. What could have been turned into scrap metals, saved by a consortium of local & east coast composer and deep listening music enthusiasts, has become an “impossible sanctuary of sound on Colorado’s remote desert, perched atop the oil fields about 90 miles north of Grand Junction”.

The Tank itself has a lovely website listening many of the activities, although I suggest further reading the AP web piece which provides many other insights. This space can be a mecca for the artists that with which the famed underground Cistern of the Deep Listening Band is unattainable. And to think in its local history of the Rangley area, its history as a sort of pilgrimage site for teens and ne’er do wells, before becoming the venue that it is today, feels eternally cool.

Anyways, Barbier’s trombone is just beyond engrossing. There’s a majestic, stately tone to a few of their early blasts, the kinds that mutate and swirl in a quixotic blend until its alien garble. It’s sets up the 41 minutes that follow as Barbier pushes towards metallic textures and slight tonal changes and strange rattlings that make the heart skip a beat. It sounds of garbled radios or giant locust crushes; insect buzzing and rocks tumbling on the high desert. It’s a type of drone that in spite of its naturalistic title, both the sound and tape cover reveal Barbier’s underlying rural psychedelic approach to the mountains. Perhaps that’s why coming off an early Plotkin cd and the FSA/Roy Montgomery collab, this tape hasn’t left the boombox so easily. Heady trance depths indeed, especially on side B.

David Donohoe – Fen

The dirty little secret about freeform radio? We’re suckers for a good hour of field recordings. And when we have none to offer, the computer is loaded with bird sounds. The Dublin, Ireland based sound practitioner, David Donohoe likely would feel the same way just based off his latest surprise treat for DA. Fen opens like a podcast, as Donohoe takes his Bandcamp liner notes and recites them directly to the listener. It’s a nifty act of priming the listener for what the tape is to hold: “Grasshopper Warbler, Sedge Warbler (both Summer migrant breeders) and Snipe (resident breeder), alongside tuned percussion and synthesizer textures,”. Donohoe is earnest about seeing an otherness and eerie factor to these birds that mimic 20th century developments in editing. He chose these particular birds noting their capacity for exceptionally alien sounds; the kinds that human electronic music of the 60s and 70s happen to mesh with splendidly with low synthesizer bass rumblings and percussion noise.

Thus, if you come to Fen with a particular desire not for bird sounds, but to see how Donohoe fuses it into a soundbath, then you have likely come to the right place. These are the kinds of songs I imagine the Birds of Maine in Michael DeForge’s latest donate for their library system–both wholesome and uncanny yet wit. There are periods of actual bird sound and environmental rainstorms that practically call to the immense pleasure of having something outside typical time conditions. Although, the tape is best for pitch black level listening, appreciating the timbres ability to create electronic esque tones. As the tape goes on though, greater focus on Donohoe’s electronics do take shape. Yet, the birds remain precarious and reveal how well Donohoe has achieved matching his sounds to their frequencies.

Merzbow – Hatomatsuri

On Hatomatsuri, Merzbow fetches the bolt cutters.

Tapes Now Available at the Dinzu Artefacts Bandcamp Page

Tabs Out | Episode 189

Episode 189


We test Liz and Dwight from Crash Symbols knowledge of their own label and maybe play a few tapes.

Kouns & Weaver – Children of Cimmeria (Unifactor)
Mid Air! – Fucked Up Fish (100% Bootleg Cassette Tape Company)
Acid Mothers Temple – split w/ ST 37 (Blue Circle/Sounds From The Pocket)
Charles Barabé – split w/ Ratkiller (Crash Symbols)
Luurel Varas – Riddles For A Machine (Crash Symbols)
Pumpkin Witch – The Return of the Pumpkin Witch (Deathbomb Arc)
Another Dark December – Anthropocene​’​s Apocalypse and Other Various Anxieties (Histamine Tapes)
Alex Jacobsen – Apartment 2021 / Commutes 2022 (Tymbal Tapes)
Wide Color – s/t (Oxtail Recordings)
Mallwalker – Danger (Tetryon Tapes)

Tabs Out | Ichiko Aoba – Sketch tour tape

Ichiko Aoba – Sketch tour tape

5.4.23 by Matty McPherson

Not too long ago a bizarre (in a complimentary way) video emerged. One featuring a young woman, Ichiko Aoba, playing a festival in Europe backed by the post-Ants configuration of Black Country, New Road. The entire thing looked like a fever dream, or in the case of rym denizens, a wet dream. For on one hand, this whole thing is baffling; a real case of 21st century internet communities having their cake and eating it in the form of a dream collaboration that only a select few even saw in person. Yet on the other hand, that this entire thing exists is undeniably pretty and moving. So few opportunities for something as otherworldly like this to exist happen; even with the connections of internet and new generations of tastemakers. Truthfully though, one’s choice in flannel or one’s adherence to trolling new music lists may long term create such circumstances that end up leading to any kind of western recognition and touring capacity for artists ranging from Aoba to Parannoul.

The resounding performance of Aoba, whose focus on acoustic guitar and piano keys, acoustic fables and stories outside of regular time and place (landing closer to a folksy ghibli world), lends itself beyond her immediate intimacy. This folk can scale with immense finesse if the right backing (chamber) band happens to present itself–as BCNR proved rather distinctly. When she played Big Ears at the St. John’s Cathedral to a full audience, the back half of her set featured four women on violin and other stringed instruments providing that sublime chamber energy. Watching Aoba with her backing band, I felt back in Escondido, watching bunnies leap over the greenery that’s emerged from a hectic el niño. There is something absolutely otherworldly about her capacity for naturalism the silent rumination that powers her work and converts a listener one by one.

It’s also known that because Aoba self-releases most her music and has an immense online fan community, her albums become hot collector commodities. Only Ba Da Bing has seemed to take any note of issuing her material in the US, and yet Windswep Adan/Adan No Kaze remains only a double LP on its 3rd pressing, with no CD or tape edition. Cool! Such things often end with me creating blindspots instead of downloading. So, when I walked in to see her Big Ears performance, I was not anticipating that she’d have a merch booth with a limited 500 copy “Sketch” tour tape. One that currently remains unlisted on Discogs, without a torrent on Soulseek, and only about 3 folks on RYM that appear to know it exists and have listened. Make me the fourth I suppose. And also let me put my hat in the ring here to join the chorus of “Ichiko Aoba makes fantastic music that we should cherish” with a resounding grin.

Taken in first during a delirious jet-lagged capacity coming out of SAW II looping, “Sketch” has quickly become one of my favorite listens of 2023. This is owed not as much to the exclusivity of the tape itself, as much as the raw power and trust Aoba has in her lo-fi set-up resonating an astounding everydayness to her recordings. The tape is split into two side long recordings: A side’s “sea horse” (she uses images for the release) is piano improv that seems to hint at a recording of “Seabed Eden,” a one-off single precursor to her 2020 release, near the end. Meanwhile, Side B’s “garden snake” actually features recordings of “hello” & “asleep among endives” and then another round of increasingly ethereal and warped piano looping and water noises. On paper, this 20ish minutes really could be nothing. Merely a stopgap or small holdover for the heads. Yet, Aoba really understands her space and silence, and uses the tape more or less to reintroduce her capacity for recording and just see what comes from a day of work. It is simply, music to stare out at the yard to; music to do the dishes to; music that you take in all the details of a room at 11:11 to. What a heavenly surprise.

As I sat with the release I’ve come to note that it reminds me of a staggering body of work. On one hand are Dan Melchoir or Ross Hammond, private press folk maestro’s that follow their thoughts to brilliant endpoints. The other hand includes Jessica Pratt and Wendy Eisenberg, who’s early recordings also treated the fidelity as a tool to presenting their own worlds and tales outside typical boundaries. Aoba is of her own accord as all these mavericks are, especially on the b-side. Her two originals recorded on this tape just feel like they could have been on On Your Own Love Again as a moment outside Pratt’s own lost wisdom. Still, as she moves beyond chord change improv towards loop manipulation that would not have been out of place on Pizza Night many moons prior. Her mic’ing that captures the patter of keys, the extra thump of pedal, and a voice that lowly croons knows exactly what the fuck its doing even if it wants to call itself a “sketch.” It evokes just how punchdrunk and out-of-body this kind of recording process, when treated as a sincere treat instead of a gimmick, can be.

What a resounding and deeply resonant sketch for spring, to say the least.

Find it at the next Ichiko Aoba show in Europe. Or on discogs in 5 months for exorbitant costs. Or on Bandcamp if and when it ever shows up.

Tabs Out | a robin sings at night – brood parasite & murmuration

a robin sings at night – brood parasite & murmuration

5.2.23 by Zach Mitchell

21st century connections are crazy. I recently posted on Facebook (a website I try to avoid outside of seeing what the 30 year old ex-goths in my life are complaining about these days) finally advertising my Tabs Out pieces and asked my 200 something strong friends list for a heads up on any tapes they might be releasing. The girl who headed up the photography department of my high school’s newspaper (where I was the award winning editor-in-chief) responded and linked me up with Ian Craig, who she met on a dating app. Both parties are happily married to other people now but still sorta kinda keep in touch through the magic of social media. 

Craig was nice enough to mail me a literal handful of tapes, a true treat in the blogging world. Amidst the stack of lofi singer songwriter and campy horror themed garage rock (we love a diverse label!) one release stood out – a clear plastic case housing two tapes with the label “two guitars, semi-improvised” fixed to the back. Turns out that this is a reissue of the first two tapes from Craig’s project a robin sings at night and it’s just what it says on the tin – two tapes, brood parasite and murmuration, full of homespun, singularly voiced guitar duets.

What sets a robin sings at night apart is its approach to form over function. Both tapes feel like a punk rock take on American primitivism, featuring over 40 (by my estimation) short bursts of contemplative sketches. brood parasite is a sequel to murmuration but they were both created the same way: Craig would take one hour to create the initial tracks in the left channel and then give himself a half hour to come up with a response in the right. Craig varies his guitar playing through both tapes, taking on traditional finger picking, furious strumming, and what I imagine is the sound of him karate chopping his guitar. The conversational nature of the music, combined with the brevity, almost makes it feel like a madcap, instrumental reading of a diary. Every song captures a discrete emotion and an immediate reaction to it, warts and all. It’s hard not to feel charmed by this approach, even with its rapidly oscillating nature.

The range of ideas on these two albums is impressive for the creative parameters. Every nook and cranny of the concept is explored. Beautiful melodies are interrupted by noisy bursts. Lilting calls are met with joyous responses. As an artistic exercise, it’s impressive. As a listening experience, it’s invigorating. Craig’s guitar playing is easy to get lost in and the albums’ structure (including the lack of tracklist on the set itself) makes it hard to pick out any one moment as a standout, but that’s honestly to the set’s benefit. As long as you keep an open mind and are willing to let the 30 minutes of lightly improvised music wash over you, you’ll find something to love.

Tabs Out | Mute Duo – 5amSky

Mute Duo – 5amSky

4.28.23 by Matty McPherson

What time do the readers of Tabs Out wake up at? I’ve never asked that and I take the whole asynchronous thing with a whiff of serendipity. I imagine most people who read this get up sometime around 6-9 AM local time. 5:50 AM is just out of that range and too bloody early, but I used to pull myself up then, or at 5:07 AM and walk in darkness to the job site to either deliver pastries or brew a giant vat of coffee. I do miss the colors of those spring skies by the lagoon. Unfortunately, the color of dark twitter DMs at 5:30 AM don’t hit the same. Most days now, I wake up sometime shortly after 7 and if the house is empty, I fill the walls with sounds.

This morning is one of those fortunate mornings, currently being soundtracked by Mute Duo. Do you remember Mute Duo? They were a band that definitely existed pre-pandemic on a fledgling American Dreams. Skyler Rowe on Drums/Percussion/Vibraphone & Sam Wagster handling the Pedal Steel amongst a drum machine, using their tools and the warmth of a studio space as canvas to impart naturalistic, rugged Americana. The kind that shimmers rays of sunlights and shakes the bristles of its tree needles with it. Well, Mute Duo have had a rather busy reemergence this April. There are new compositions for American Dreams, as well as this most curious 34 minute pre-Pandemic (2/29/20) live realization at the Empty Bottle; Chelsea Bridge, Matthew Lux, and Andrew Scotty Young join as auxiliary members that turn the Mute Duo into a Mute Quartet encroaching on a particular jammy sunday I’ve come to admire over the past few years. A thanks to the Sea and Cake as well alludes to a greater lineage that Mute Duo themselves are chained to: intersectional Chicago jamming

5amSky is grounded in a pulsing motorik, the kind of a steel engine on a flat plane where anything can happen. Mute Duo, even with these added members, are steadfast to that particular kind of jam. One that parallels Jake Acosta’s Rehearsal Park or one of the many Unifactor pocket worlds, but with a greater sense of anthemia guiding it. It only takes about half of the rather acute side A to lock into its devious jam as Rowe provides a steady beat for Wagster to draw out all the curls of the clouds and deepest of blues that a pedal steel’s chords can provide. It’s fluffy music, complete with a footwork to its beat that begs for revelrous dance; I sure hope those patrons pre-pandemic did so. Although I must admit the outro’s sudden distorted twang and electronic honkery is more…an electrified rodeo than the piece’s first ten minutes.

Side B meanwhile brings in the whole auxiliary band one piece at a time, slow burn. The nearly 22 minute affair has a whiff of a heist being pulled off, the kind of heist that you always imagine Tortoise would’ve soundtracked in ’99 but were never afforded. It’s opening minutes focus intently on a minimal rattly drum beat, augmented by bass effect and actual bass dancing off it, while a cymbal skips over it unhurriedly. It soon moves to focus on the drones of the bass n’ pedal steel while introducing the vibraphone that doodles about and compliments the drum beat. Chelsea Bridge’s strings meanwhile create these dustbowl arpeggios (that soar) that help complete the piece and move it to its sleek final form for the majority of the run time. Suddenly, the mute duo have concocted a loungey chill out dance track; one rather based in Americana. A dustbowl disco (well, for the mind) if you could imagine that. One that actively integrates wind chimes and electronics (and even noise splotches!) like a DJ finessing live samples into the mix. The B side’s groove is a particular kind of revelry and dance character that has not been effectively considered in recent American tape releases. The kind with such a viscosity to its character! Even as it turns into a deep fried lazer guided melody burst in the final third and drones out Charalambides style.

There’s been traces of a cosmic Americana in the curation that Unifcator and the newfound Astal Editions. Although, I’ve struggled to use or consider the term to describe the loose happenings in these (mostly) midwestern folk music that has its ear turned to krautrock-indebted jamming. There is an incredible canon of work that the last three years of Moon Glyph, Unifcator, Astral Editions, and a few other scattered releases have been dialoguing with one another. Yet, even as these folks have shared bills or acknowledged one another, the capacity for outright trance has been inconclusive, or at least are grounds that are only starting to be really acknowledged. Pulice’s work with Powers/Rolin feels like a groundbreaking here, as does the Power/Rolin certified curation of Mute Duo’s 5amSky. For a recording that’s 3 years old and uncirculated until now, it feels of the moment; a perfectly encompassment of electronic intermingling in jamming that stays grounded to its roots and isn’t afraid to shake its ass. Consider it amongst the year’s best.

Edition of 200 Available at the Astral Editions Bandcamp Page

Tabs Out | Clan of the Cave Bear – Prove Youre Human

Clan of the Cave Bear – Prove Youre Human

4.27.23 by Ryan Masteller

With the intensely unsettling rush of guitar and drum histrionics from Cleveland’s most-pummeling-of-all-time psycho-death-math band (yeah I said it) fresh in my ears, I could barely begin to identify the Homo sapiens traits within myself that I once took for granted. That’s no small feat – I had been feeling the most person-like I’ve felt in a long time before I popped in “Prove Youre Human,” a cornucopia of DNA-altering bombardment at the molecular level, enacted through devious sonic manipulation by Clan of the Cave Bear’s John Delzoppo and Brendan Sedlak. But sure enough, and truly, by the time the tape locked on the finally empty reel of “Prove Youre Human,” I was questioning my own response to the imperative in the tape’s title, a response that transitioned all the way to “I don’t think I am anymore, actually.” 

I was pretty disappointed in myself.

That’s what you get, I guess, when you’re bombarded with metallics steeped in radioactive goo, dried and corroded for maximum abrasion. And abrade the Cave Bear fellows do, as each second of “Prove Youre Human” hits with a force that seems utterly physical. It’s no wonder then that my body responded – nay, reacted – to the assault by breaking down at a molecular level, skin, bone, tissue, and organs ceasing to exist in easily defined states and seeping into one another until I attained a form somewhat resembling a cross between the Toxic Avenger and the Blob by the end of the tape. So the joke here, dear friends, is the challenge itself – once Clan of the Cave Bear finishes with you and demands proof of your ongoing humanity, there’s very little – if any – of it left to present on your own behalf. I sure failed the test quite miserably – damn you, you crazy slash-and-burn noise rock! I’ll never not say no to you.

Oh, and guess what? This is a lost album from 2012, released just now by Mistake by the Lake Records, so these chuckleheads have been planning our humiliation for years. Cassette edition of 100.

Tabs Out | Episode 188

Episode 188


We play Tape Label or Weed Strain: Dungeon Synth Edition with Nicholas from Weregnome Records. Plus tapes!

Sombre Arcane – Realmsong (Lamp & Dagger)
Eugene The Oceanographer- The Maze (Biloxata)
Alehoof – s/t (self released)
Deerhoof – Miracle-Level (Joyful Noise Recordings)
Swamp-Ass – Disasterpiece (WereGnome)
Potpourri Chartreuse Roulette – recycled tape (self released)
Therapissed. – s/t (Apartment 421 Tapes)
Erythrite Throne – split w/ Seregost (Obsidian Relic)
Bad Trips – From Beyond (Solid Melts)
Cheree – Factory (Cherub Dream Records)

Tabs Out | The Electric Nature – Old World Die Must

The Electric Nature – Old World Die Must

4.21.23 by Ryan Masteller

It had to happen at some point. We couldn’t stave off the inevitable forever, no matter how much – or how little – we tried. And it truly was “how little,” because no one was holding back the Electric Nature but the Electric Nature themselves. And they weren’t even holding themselves back – they were essentially just out there, waiting to carve out some time for themselves to hop in a room together with some recording equipment and lay down some sweet, sweet tracks. Which they eventually did. So – good news, in the end, there’s a new Electric Nature tape (and – gasp! – LP edition on Feeding Tube) for us to gobble and barely chew before swallowing and digesting and disseminating throughout our bloodstream and body in a euphoric rush. Because that’s the effect “Old World Die Must” has on the human person – it goes in fast and intense and results in a massive rush.

You’ve seen it happen, because you’ve seen it in person – the Electric Nature just ripped through a tour for this sucker, so it’s road-tested. Battle-tested, even. Michael Pierce, Michael Potter, and Thom Strickland are the grizzled vets returning from duty, their crushing freak-jazz/earth-scorching noisebient a PTSD-inducing cacophony … or mind-freeing antidote to primitive and insular thinking everywhere. Jeff Tobias (yes, the Sunwatchers/of Montreal/Circulatory System among others guy) plays sax on “Enter Chapel Perilous.” John Kiran Fernandes (yes, the Olivia Tremor Control/Circulatory System among others guy) plays clarinet and violin on “Old World Die Must.” Each side is a wildly different vibe, but there’s a gravity-defying, atmosphere-piercing rocket ready to rip the face right off the sky for fifteen to twenty minutes or so, uniting the two sides in a clear attempt to freak out every square in sight. And there are a million of them, so it’s imperative we get this piping through every loudspeaker in every city before anybody realizes what’s going on.

It’s the Electric Nature! That’s what’s going on. 

And they’re back, baby.

Cassette edition of only 100 from \\NULL|Z0NE//.

Tabs Out | Andy Loebs – Hyperlink Anamorphosis

Andy Loebs – Hyperlink Anamorphosis

4.17.23 by Matty McPherson

Loebs is BACK! They didn’t even have a moment to swea–or chomp down a Gatorade for the electrolytes! Coming only half a year after their stellar Orange Milk debut, this new Hyperlink Anamorphosis tape is both new-time shifting R&D as much as a genuine jumping refinement of Loebs’ palette. The liner notes make it clear: about 11 slices of music akin to “second-hand Second Life glitching” or “any % speedrun challenges” across 22 minutes of 2022 live performances from house shows and wherever Loebs was being given full reign of control. 

If you don’t know those liner notes, then you may mistake the crispness of these DAW cuts for new Loebs compositions. And the fella’s been seriously figuring out that psychedelic bliss tempo range. Culling from a bag of electronic developments less based in precise rhythms or synchronous drum tempos, Loebs style is ever-present vibe shifts between haptic sounds and what constructivist affect layering instrumentation can reveal. Future funk smackdown here, gabber rail grinding there, a little broken orchestra from just outside the normal, oh and one of those footwork synths that you might as well glide down; this is all just there in the opener Trolley Portal. Every element comes together at the finale, before fizzling out with finesse, enough so that you can seriously lose track of where you are on the tape. This is a benefit to the approach in my opinion, allowing for Loebs to maintain immense hustle and their galaxy brain bag of ideas.  

The little fella HUSTLES in compositions like “The Back of the Router” (which its jumpy “HEY!”s) and “Hypertext Reponder”’s major-keg BIG SOUND under sizzlzing drum n’ bass. There’s a progression towards synthpunk sugar rush rushing into the red on (the brilliant fucking titled) “$5-10 Suggested Donation (notaflof),” a cut that fries the bass and turns the synths into subway trains that seem to be just around the corner.

That being said, it’s those pieces near the end that are of immense note. The B-Side itself is a little more airy, with only arpeggios of bleeps keeping a stable reference across the field recording fuckery of “The Word for World.” Even as gamer gabber grab bags light the way, it’s the “Oblique Zing” and “Scenic Overlook” where Andy stretches their noise muscles a tad. You see it a bit during the A-side, when small dispatches of airy synthetic silence pull you out from the mania, but these two together really hit at the haptic overload. Both sound as if Andy just decided to pivot HARD into ZXS Spectrum computer building, but forgot to install the RAM and took a field recorder to whatever alien noises plopped out of there! It suggests a new versatility to Loebs’ bag of tricks.

As much as the versatility of the noise on this tape is such a draw, Hyperlink Anamorphosis’ brevity gives it a walloping punch that also revels in listening repeatedly while on the move. I spent the end of March back in Knoxville for Big Ears, at an airbnb walking distance from Downtown. This became a walking tape on Thursday morning. With cheap headphones in my ears, I quickly realized that there’s incredible potential for Loebs’ sound to bounce off urban zones. The sirens of a real ambulance almost felt within the piece, as did the chipper birds at a crossing, and even the low drone of a car revving or generator a building away. Hyperlink Anamorphosis DOES sounds like 2023 in all its almost-cybernetic glory; a fact that Skye Butchard also brilliantly noted in a piece for the Quietus this month. And I should know! I saw Kate NV performing her own hyperrealist compositions that Loebs equally stands toe to toe with. Could you imagine that?! The russo pop princess and Loebs in a DJ battle of wits? Oh goodness what a dream! I’ll go ahead and get the house show guest list all set up, you can DM me for the address, just $5-10 notaflof.

Pair with a local honey ale and bbq chicken sammich served on a hot dog bun; fries applicable! Edition of 200 available from Jolt Recordings!

Tabs Out | Mallwalker – Danger

Mallwalker – Danger

4.6.23 by Zach Mitchell

Learning about someone posthumously is a messy, beautiful process. It’s happened to me twice over
the past year: once when my friend Nick (of the wonderful band Spiral Rash) died and a second time
when Sarah “Underhill” Danger passed away. I didn’t know Sarah like I knew Nick, but what little time I
spent with her was spent with someone who treated me like I was her best friend even after just
meeting in passing a once at Gonerfest. When she died, I regretted not knowing to get her better. I saw
the tributes from people in Milwaukee and the people who knocked back beers every year in the
Memphis heat with her and felt a strange twinge of guilt along with the expected sadness. That’s
obviously selfish on some level, but that’s what’s hard about having a new friend in your life pass away –
you end up mourning the person and the friendship that never was at the same time.

Thankfully, Biff (the great bootleg head of Das Boot Tapes) over at Tetryon Tapes released Danger, a tape combining the Mallwalker (Sarah’s band) album that never saw an official release with an incendiary set he recorded live in Buffalo. Another funny connection here – the Mallwalker album was recorded by Eric and Stacy over at Sex Tape Records, who, at one point, tried to court my band Big Clown by telling us that they had the record ready to release. They sent us the album and I never listened to it.

This was the story of my experience with Sarah until summer 2022, when Big Clown made the trek up to Milwaukee to play a show at the fabulous Circle A with the equally fabulous Florida Brothers Band. Sarah was a Gonerfest regular but we never really had an actual conversation. I didn’t see Mallwalker when they played a 4 AM aftershow or when they played the festival proper; I walked in during MOTO’s set two bands after and was told I missed a great set from some band with a wild singer. I filed away the information for later. I saw Sarah, all dyed hair and provocative punk clothes, and knew she had to be cool. I didn’t feel cool enough to talk to her, so I didn’t. She obviously thought my band was cool enough to pump her fist and yell along to our songs at a sparsely attended show (and again at a very chaotic 1:30 AM Gonerfest afterparty that was better attended (we played better in Milwaukee though), so this was totally a me thing. Hindsight is always 20/20.

I wish I had listened to this album while Sarah was still alive. I want to tell her that “Parent Trap” felt
relatable in ways that punk songs usually don’t. I want to tell her that laughing about turning into your
parents is more worthwhile than hating it. I want to tell her that the sexcapade outlined in the first verse
of “Phase” is fucking gnarly and made me wish I could’ve/would’ve raised a Gonerbrau to it at the Hi
Tone. I want to tell her that it sounds like this is what she was born to do. Some people just make sense
as punk singers. It’s not about the costume (which she rocked, clearly) or the lyrics (which hit the
modern punk sweet spot of being funny, gross, and passionate). It’s the venom. It’s the confidence. It’s
the charisma. She sings exactly the same as she talked and that’s the kind of energy I crave in my music.
So what actually was Mallwalker? Who was Sarah? What did I learn from this tape?

  1. Mallwalker was a good band that absolutely earned their opening slot at Gonerfest.
  2. Mallwalker was the kind of band I don’t think I would’ve appreciated in 2019 if I saw them at
    Gonerfest. This, again, is a me problem. I have become much more appreciative of energetic
    performances and opportunities to live in songs than I was in 2019. Ironically enough, that
    MOTO performance changed a lot for me.
  3. Mallwalker had an absolutely killer bass tone that more punk bands should rip off.
  4. Sarah could front any band and it would be worth listening to.

Mallwalker was clearly special among a heap of other scuzzy four chord floor tom pound punk my life. It’s impossible for me to separate this band from the context of the tape, its creation, and where I’m at, but I also just don’t want to. This is all I’ve got left of someone who was warm to me and
could’ve been someone I got to know better in years to come. It’s worth holding onto that for as long as
I can.

Tapes of the fabulous available at the Teyron Tape Bandcamp Page