2.9.19 by Mike Haley
Listen, if you’re gonna be a baby about this you should just go. Close this tab now and open up some decisively not scary content on the web. Oxen. Is. SCARY! Skeptical? Take a look at the special edition packaging for the Wasteland Jazz Unit tape above. Spikes? Check. Metal? Check. Black Fabric? Friggin check, M8. Thank your lucky stars that sucker was limited to three and definitely sold out. 💀
Oh, and you read that right: Wasteland Jazz Unit! New tape! The Cincinnati John/Jon-Jazz that was so jacked up nature forced it into hibernation for a few years is back. A regular/less scary version of their tape, plus one from Like Weeds (special edition sold out), kicks off 2019 for Oxen!
Wasteland Jazz Unit – Session to Nothing
Wasteland Jazz Unit delivers their brand of confidence-in-chaos and bemused, dizzy gestures into a skidding vortex of unfurling pieces across two sides on ‘Session To Nothing’. For fans of Jon Lorenz and John Rich’s oxygen deprived frenzy they deliver in abundance their daunting, unclassifiable webs of non-linear showers of noise, the duo expertly avoiding any gestures short of an overwhelming roar.
Like Weeds – The Will of the People
Kenny Sanderson’s new project since hanging up the FACIALMESS moniker has been challenging listeners live and on recent releases to join in the expansion and course change of his particular talent to create sublime obsessive narratives in sound art. LIKE WEEDS THE WILL OF THE PEOPLE obliterates any possible preconceptions of what the master of harsh cut-up noise was up to in 2019.
The answer lies in the presentation of Side A’s COME FRIENDLY BOMBS, a deliberate, spacious and highly disciplined array of blasts and slinky entrails of elusive unwinding knots of what might be distant junk entropy or iron structures collapsing in excruciating slow motion.
No energy lapses completely before it lathers into a gratifying fracture of any constraint. The ominous staccato of bruising clusters continues until it too inevitably gives way to unfettered abandon by the end of Side B’s UNREAL CITY.