Cabo Boing – Blob On A Grid
4.25.17 by Mike Haley

It’s understandable to wonder, perhaps at length, what alternate plane of existence “Blob On A Grid” leaked from. Surely it wasn’t created in this one. Yet it was, that is precisely Haord Records‘ bag after all. From the totally bugged-out assortment on their “Haord’s Bunchla” compilation to the sugary peculiarity of Macula Dog, Jimmy Sanchez & His Crystal Balls, Jake Tobin, and others, Haord have been turning over rocks in caves and climbing to the top of the tallest truffula trees in search of audio extraordinariness. Their latest disclosure is a dozen bounca-whirl songs from Cabo Boing.

If Mark Mothersbaugh had the gumption he would have made “Blob On A Grid” years ago, and it would have soundtracked many a Pee Wee’s Playhouse episodes. Not a single second of it’s eccentric no-wavery antics wouldn’t cozy right up on Chairry’s fluffy cushion. That is fact, not opinion, and in no way open for debate. In reality it was made by Brian Esser of the synth duo Yip-Yip. If we are being honest with each other, and I think we should, I like it much better that way. Splashy imagination is smudged wall-to-wall, no way cowering in the corner, playing coy, only poking out every now and then. It is on full display – nay – on overload. These tunes are dayglo and chafed from perpetual movement. As each track ends, sometimes in under a minute’s time, quick contortions take place so the next can unload it’s enthusiastic energy. Unabashed friskiness scampers into perplexing modes, all pitched-vocals and jagged electronics jerking in unison, backlit by colorful, dynamic textures ready to tweak at a finger’s snap. Get happy.

The visual presentation is a foolproof manifestation of the audio, one that I mentioned here.  I shan’t bore you any longer with details. You should be buying a copy of this now!

Cassette Label or Weed Strain?
4.20.17 by Mike Haley

For the third year in a row we present the Cassette Label or Weed Strain quiz! Sativa? Indica? Cobalt? Chrome? Try to figure it out by clicking “Start Quiz” and deciding whether the names you see are tape labels or weed strains.

[WpProQuiz 5]

Interlaken – Versaux
4.19.17 by Mike Haley

You may be familiar with Chris Donofrio from his solo work as Reviver, or as a member of the duo Arabian Blade. For his debut cassette under the moniker Interlaken, Donofrio has traded in nightmare crunch for marshmallowy patience. “Versaux,” a C30 which is also the debut release for German label Seil, is glazed over with this newfound ambiance, a slow-swishing liquid of sound.

Side A is the calmer of the two. The handful of tracks that make it up maintain a fleecy flow over their 15 minutes. Cashmere patterns layer and web together with a relaxed consensus. No shimmer or gleam attempts to outdo another. They are all total buds that really want to share space on the magic carpet that is being weaved. Side B leans slightly into a zone of more spirited maneuvers, but remains absolutely chill. It opens with a sound mandala swirling around persevering thumps before offering up a an extra crispy synth fantasy, full of illuminated sequences and bassy, jutting tones. While those two cuts don’t exactly sport the same waxy patina as the earlier songs, they still feel right at home. A foggy, evaporated soundscape, as if someone dubbed a dub of a dub of a slowed down version of the Twin Peaks theme song, takes us out of the Interlaken experience. And here we are, left wanting more.

copies of “Versaux” were dubbed up and available from Seil Records.

Korean Jade – Exotics
4.10.17 by Mike Haley

Cloaked in low-res black & white conceptual imagery, with perhaps a small visual nod to “Pulse Demon” by Merzbow, comes “Exotics.” This seven cut C30ish by Korean Jade acts like a medicated liniment. It’s flexible drones and swerving patterns rub on like a lotion, but with enough coarseness to cause friction and heat when applied. I don’t know who is behind the Korean Jade name, but whether they were going for beauty trapped in crud, or crud trapped in beauty, they got there. Like the artwork, the sounds on “Exotics” also have a low resolution, lending a satisfying matte finish to the overall production. The occasional scaly tail of mutant techno will take a swipe at ya here and there, but it’s bread and butter is synths bending and blinking in a thick fog. Don’t fear! It’s reassuring fog. Not a too scary fog like from that movie The Children I watched when I was far too young.

A white shell with a single black smudge of black paint rounds out the colorless presence of “Exotics,” a more than decent offering of crisp ambiance awash in graininess. Grip one of the 30 copies dubbed from Plush Organics.

Unguent – Simulation Of A Bat Engulfed In Acid
3.30.17 by Mike Haley

I haven’t watched an episode of Fraggle Rock in a few decades, so I had to hit up MuppetWiki for a reminder of what those tiny green worker things were called. My guess was Goobers, but I knew that wasn’t right. Doozers is what they are called. In case you need a refresher, or have never seen Fraggle Rock before, Doozers are an all-work/no-play race of 6″ tall creatures heavily invested in the field of construction. They spend their days building structures out of Doozer Sticks (thin, transparent rods made of radish dust) that the Fraggles can’t control themselves from eating, which is a total dick move when you think about it for a split second.

I bring that up because “Simulation Of A Bat Engulfed In Acid”, the new C40 by Unguent on Refulgent Sepulchre, sounds like it was made by Doozers. Getting past the clear shell, obviously fashioned from Doozer Sticks, the sounds are totally Doozerish. You’re immediately nudged and pricked by a shoveling of pint-sized zaps, most of which existing only to sting your tush then belly flop back into the couch cushions. At times it’s almost a menacing experience, like… Why is this tape doing this to me? Basically a random splurge of circuit shoving that sometimes sounds like the tape is shaving itself into ribbon. The only breather from that pixel blast is when the bloops and screeps gang up to create spurts of gummy patterns; Doozer dance-off’s possibly? I don’t know, but I like it a good deal.

It should be noted that this tape was NOT created by Doozers, but instead a Philadelphian by the name of Lance who also runs Refulgent Sepulchre. Lance was kind enough to make 100 copies of  “Simulation Of A Bat Engulfed In Acid” and a few other killer releases, all available here.

New Batch – Midnight Circles
3.5.17 by Mike Haley

I’m gonna be up front and admit that I have never heard of Midnight Circles, the self described “Xerox-label” from Germany who have been dealing out slimy sounds for several years now, until this latest batch of three arrived at my door. I could ask myself if I’ve been living in a cave, but that wouldn’t account for the oversight, considering most of their offerings sound like they originated in a cave.

The soggy sounds in this trifecta come from C. Reider, Die Neuen IBM, and a collab between Danny Clay & Greg Gorlan.

C. Reider’s “Chew Cinders” C26 plays like a dusty reel-to-reel found at an estate sale. Ideas of the original content remain intact, but just barely. As bits of strained words warp into swine-like snorts you can only imagine what was initially recorded on the magnetic tape before time and the elements ate away at them. Those antique distortions, with their airy, chalky bias, are met with the occasional synthy snaps, but this tape feels most at home trapped in mold.

Die Neuen IBM is the cassette/synth duo of Chemiefaserwerk and Aaron Yabrov. The series of eight live improvisations on “Berliner Klassik” were recorded in Berlin last year and mingle the very familiar sound of tape hiss and scramble with a music box like delicacy from their Korg MS-20 and Yamaha SY77. The results are a C40 of no coffee / all tea plunges into deep chillness with moderately scratchy interference.

Last in line is “Birch”, a C30 effort from Danny Clay & Greg Gorlan that follows their “Brittle” tape released by Canti Magnetici in 2016 and several other get together’s prior. Gorlan, who has been known to mangle a tape or two (see: Vibrating Garbage, Black Thread, etc) and Clay churn piano melodies into a thick static paste. Notes swirl, rerun, and often go adrift in a sea of hiss. Depending on how you approach it, “Birch” can be a depressant cruise or a momentary escape. It really depends on what elements you focus on. Either way, it is a solid tape.

Each cassette from this batch is rather limited, packaged with fancy silver or gold paper with top notch art, and either nearly or completely sold out from Midnight Circles. Do yourself a favor and try to track em down.

MichealCushion – Life Escaper Trial Edition
2.21.17 by Mike Haley

Ever wonder what the hell is going on? I’m not talking about a deep, late into the night conversation about life and it’s meanings or lack of, but more along the lines of a situation where you discover cheese in the battery holder of your TV’s remote control. A shake-your-head/shrug-your-shoulders flash of befuddlement. “Life Escaper Trial Edition” is a series of those sort of circumstances. It would appear that MichealCushion removed your triple A’s and put that cheese in your remote. Maybe they read on a body building message board that gouda could power electronics better than Duracells? Perhaps it was just a bozo goof with some left over mascarpone? You’ll have to get in touch with MichealCushion on your own time and find out. I’m past the point of curiosity, content with swimming in the whiz of this killer tape.

Nothing here makes much sense. It’s awkward, nomadic, and ambiguous of it’s intent. In calm moments “Life Escaper Trial Edition” flirts with moody, inner-directed dexterity, but is quickly pummeled with charged up distractions and false starts that rupture into squelch. Recycled sounds and puddle-minded shake ups are gnarled into a dopey coitus of audio blllleeeaaaauurgh, with volume levels and motivations whirling rapidly out of control. Basically a Supermarket Sweep of noise, dashing from isle to isle throwing everything into the cart without any meals in mind. I bet plenty of time was spent in the cheese section though. Those remotes aren’t gonna fill themselves.

Only 20 copies of “Life Escaper Trial Edition” were made, all with white shells and equally fanatic artwork. Go buy one from Melty Tapes now, okay!?

WHEREAS – CMMZOZMM – Electronic Quartet
2.3.17 by Mike Haley

Cameron MacNair, Mike Meanstreetz, Omar Zubair, and Maneesh Madahar decided to burn all maps, pack a lunch (and some rando “instruments”), and just go explore their surroundings. For forty minutes they wandered about, stopping here and there, eventually returning with this stupid good tape on Tingo Tongo.

The cassette is one long track split up into two equal parts. While there’s totally a ton of room carved out for sticky, meditative improv, WHEREAS‘ no-edit circus “CMMZOZMM // Electronic Quartet” is highlighted by it’s wonderful micro agitations. Rogue chunks of detached, frustrated, and otherwise deviated sounds that band together to form freaked out, and rather unpredictable networks. It starts off with a low key vibration; a cool tremor that plods up your leg every so chill like. Then the itsy bitsies begin to skitter out. A miscellanea of buttoned down electronics, slightly out of place samples, and grisly guitar echo flashbomb the avocado-like rumble that is still working things out in the background. Created is a sonic jittering that can be unnerving, even when the quartet dips into their more casual jam territories. Don’t be surprised if your hand is shaking like you consumed one too many cups of coffee, even when virtually nothing is happening. That is the hectic residue of WHEREAS’ slimey patchwork still in your system. They serve it up thick, and aren’t afraid to bust out a run of pitched vocals over metallic clamor or some other weird mishmash.

An edition of 100 copies is available here. Go get one.

Colin Andrew Sheffield & James Eck Rippie – Essential Anatomies
1.27.17 by Mike Haley

Call me a old fashioned, but I think the use of full names should be reserved for people who have assassinated a public figure (or at least attempted to), shot up a shopping mall, or some other batty shit like that. But I’m willing to give Colin Andrew Sheffield & James Eck Rippie a pass. After listening to “Essential Anatomies” I think we will all agree that they deserve it. Not because they create frantic, unhinged environments. They do just the opposite. And they do it very, very well.

Colin and James are far from strangers when it comes to collaboration. The two have been working together for over a decade, with output that includes a tape with the same title as this 48-minute gem, also released on Elevator Bath in back in 2016. This edition, recorded in Austin, Texas last year, appears to be sides 3 and 4 of what may be an ongoing series? I guess we will have to sit back and see how far they go. Processing digital and analog samples the duo lurches forward, crystallizing lucid impressions with distended, vexing ambiance. Like running your fingers through the shag carpet in Grandma’s bedroom, James Eck Rippie’s turntable sampling is chalky and thick. As snippets of sound pass, they leave behind dust and tiny strands of hair under your nails. You can almost smell the mothballs. The digital samples, which both members provide, are a fierce juxtaposition. An analogue for the digital would be more like the original appliances Grandma still has in her kitchen; Brightly colored, all orange and yellow, with indiscriminate hiss and clicks scattered about. The 1950’s GE fridge runs loud, but sometimes slams off without notice, leaving a void that you didn’t even notice was being filled until it passes. The second hand on the oven’s clock still rotates, but it’s warped metal rubs as it rounds the 12, flinging free into a vibrating, cosmic spring-out. All of this agitation melts together into an awesome sci-noir scene.

Colin Andrew Sheffield, who runs the Elevator Bath label (what exactly is an “elevator bath” by the way??) knows James Eck Rippie well. And James Eck Rippie knows Colin Andrew Sheffield well. And it shows. They play off each other’s gnarly sample-contortions perfectly on volume 2 of “Essential Anatomies.” My advice: Take one of those pastel mints out of Grandma’s candy dish, place it on your tongue, push the button that reclines the old person chair, and enjoy the ride. Both sides stretch on for just under 25 minutes with no red lights or closed roads.

Starkey – Charting Stardust (Original Soundtrack)
1.11.17 by Mike Haley

I’ll start off by admitting what initially, however juvenile, attracted me to this tape. The title. I don’t know if we are all pretending that the word “charting” doesn’t immediately make us think of “sharting”, but come on… Yeah, it does. And if we are continuing this facade of sophistication, as if nobody knows what I’m talking about, I’ll just lay it out: A shart, as defined by PoopingProblems.com, is “an involuntary defecation which occurs when one try’s to pass gas.” So the title “Charting Stardust” instantly made me think about pooping glitter. There, it’s been said. But, after a looksie at the simple but lavish design work of the Jcard, and noticing the tried-and-true Sacred Phrases logo slapped on the back, it was obvious that Starkey’s “Charting Stardust (Original Soundtrack)” was going to be more than just another flashy flatulent.

And I was right. It is WAY more. In line with classic outsider pioneers, Starkey creates fantasies, and is extremely generous when it comes to details. He sends feelers out into the far reaches, returning with a cache of polished sonic runs and ambient arrays that are eager to vibe out. Ideas are heavily layered and whirlpooled together, as if they are being finger-painted on an endless canvas. A magical swirl of hypnotism spills for days, but with individual parts that still fit together like puzzle pieces. As the pieces connect, a full image is formed. Like a magic eye painting coming into focus, you start to hear these micro worlds of side-scrolling future music. Tone follicles burrow into your skin as epic sound monuments erect and crumble. It’s all a very huge event. Tracks like Ecliptic stir senses with a more intrusive focus, relying on the repetition of throaty thuds to distract while gigantic schemes expand in the distance, eventually landing right on your face. Opposing views like Ticks and Seas, both second-to-last tracks on their side of the cassette, opt for a cerebral approach to life.

So it turns out that “charting” stardust (like mapping it out) is way more accurate than “sharting” stardust (like shitting your pants while trying to fart) when it comes to the zone of this here mind melter. That’s probably for the best. Pick it up from Sacred Phrases!