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

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.

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