Tabs Out | Boron / Argon – Mirages

Boron / Argon – Mirages
5.23.17 by Ryan Masteller


“Boron?! More like Boreon, right?” Thus was revoked this writer’s music-reviewing license as the authorities at the Central Office realized I had intentionally paraphrased a Billy Madison joke, replacing “chlorophyll/boreophyll” with “Boron/Boreon,” a stupid, ham-fisted attempt at jocularity that falls even flatter as I continue to type it into oblivion by explaining it. I am the Adam Sandler of music writers. Somebody pull the plug on this laptop.

As much as Billy Madison was a dimwitted tool for suggesting learning about something new was stupid, I, too, am an unmitigated disaster for reshaping Boron to Boreon, as Dan Nelson’s output under a litany of chemical signifiers – including Freon and, uh, Elron – is consistently engaging from one release to the next. Here, on his Tymbal Tapes debut, Nelson transitions from Boron to Argon like a nonmetal to a noble gas, on paper an impossibility (probably – my chemistry’s super rusty; there’s something about ions or isotopes in there, and going from atomic number 5 to 18 probably requires some kind of act-of-God molecular interference), but in pseudonymical terms, Nelson makes it look easy. “Mirages” is a non-split split between Nelson’s two aliases, an anomaly relegated to official tracklists and Jcards. The music itself flows as a cerebral whole.

As is his typical terrain, Nelson, navigates a synthesizer bank set permanently to “billowing,” hewing closer to those noble gases and hovering in the atmosphere until pressure causes them to condense and oscillate, agitating for a few moments before drifting apart once again on their way through the ether. Tones and moods change ever so subtly throughout, and “Mirages” as a zoomed-out whole takes on soft, pastel hues through the synesthetic processes recorded by your brain. Don’t be fooled by the b/w cover art or slate-gray tape (although they are both unapologetically gorgeous) – Boron/Argon is filled with color and texture, radiating outward to cover the earth with its sonic particulate. Think of it as helpful pollution, restorative vibes penetrating the cells of every living organism, not remotely like the lung-busting amounts of carbon dioxide continually pumped into your system. It’s like the opposite of living in Beijing. Probably.

Released May 5, 2017, right here on Tymbal Tapes, this lovely catalog item “features pro-dubbed chrome tape housed in metallic silver shells, and double-sided 3-panel j-cards printed in black ink on luxurious antique gray linen.” The edition of 75 will probably go quick.

anders5.22.17: Anders Brørby – Mulholland Drive, 1984

by Ryan Durfee

Enter a crafted a gorgeously immersive soundworld, then get lost in it. [Check It Out]

Tabs Out | Anders Brørby – Mulholland Drive, 1984

Anders Brørby – Mulholland Drive, 1984
5.22.17 by Ryan Durfee


Released by the always excellent Hylé Tapes in a now sold out edition of 50 copies, Anders Brørby‘s “Mulholland Drive, 1984” is a perfect album for the late spring, with it’s ominous tones bringing to mind mist enshrouded forests and decaying cities. The title of course is a David Lynch reference, something you can hear that in the DNA of the album, but what this cassette most brings to my mind is J.G. Ballard’s The Drowned World. I can picture the second track, “Black Room,” playing as the men touch down in the deep jungle, it’s watery tones mirroring the submerged landscape. Another choice cut is the six and a half minute “Persuasion of Existence.” Clattering accents reflect the unease felt by Dr. Kerans while trying to navigate the emotional malaise brought on by the humid jungle – And maybe a tinge of Tim Hecker.

One of the few missteps on an otherwise excellent album would be “Defeat.” While still a good song, it throws off the smooth flow of the album with the vocals. A flow Anders immediately brings back with the haunting synths of “Room With A Different View,” soothing as you begin to formulate a way to escape from the waterlogged city. In what will most likely end up as a personal favorite from this tape “A Sudden Sense Of Loss” incorporates some Angelo Badalamenti-esque horns to augment Anders’ crackling, seasick background sounds. Listeners are left on an unsettling note, wanting to hear his project unfurl. I for one can’t wait to see what Brørby does next.

Cop a digital version of “Mulholland Drive, 1984” here, and scope the usual suspects for a analog version to pop up.