[Premiere] New Tyler Holmes Single Heralds Upcoming Releases

[Premiere] New Tyler Holmes Single Heralds Upcoming Releases

Ratskin Records announces a new EP by unique experimental artist Tyler Holmes, entitled Devil. This new EP will build on Holmes’ previous three releases, which feature widely varied styles and techniques of music-making. While those releases pushed outward against boundaries and borders, Devil looks inward, to the mores and messages that shape us as children and follow us into adulthood.

Our Interview with Collections of Dead Souls

Collections of Dead Souls

Collections of Dead Souls

Collections of Dead Souls is Timothy Anderson, of Austin, Texas. He is an artist who creates chaotic works of synth and sound, that buzz with narrative energy. His latest release, Synth Explorations Of The Unconscious Mind Vol i, warns of the injustice of modern society, while also transmitting a peaceful tone, full of hope and magic. I had a chance to catch up with Timothy to talk about it.



Gray Lee: Thanks for taking the time to talk with me. How long have you been creating music under the name 'Collections of Dead Souls?'

Timothy Anderson: I started making this form of electronic music around January 2014, didn't come up with the name until about July of 2016.

It was actually in a motel on the Las Vegas Strip that I came up with the name.

G: It really stands out. It was definitely the name that drew me in at the beginning. But you’ve made music in other forms for much longer.

T: Yea, I started playing guitar in my teens, got a 4 track when I was 17, started playing around with recording.

Then I was recording under the name FONADI, eventually adding a Korg MS2000 and a Korg Electribe to the mix.

These are some of those tracks.


G: Ok so you branched into synths pretty early on.

T: Yea, it was really more of a had to do it kinda thing. I needed a rhythm section as it were, and instead of finding other musicians, I just learned to do everything myself. Main influence at the time was Aphex Twin and Godflesh, (that hasn't changed) so figured why not?

G: You seem to work from a broad range of  influences, including rock, ambient, electronica, harsh noise - each one of your releases has its own vibe. What's your creative process like? Do you start with a concept and then create to shape that, or create free form works and see what comes out of them - or is it a combination?

T: Usually a concept. The idea has always been to tell some kind of story through synths and drum machines.

- or in the case of "Because I Rushed It" I was really really drunk.

G: I’ve been listening to the new release and it does have that conceptual feel. I think the first thing I noticed about Synth Explorations of the Unconscious Mind Vol I is the way the song titles work together to create a sentence - a statement.

T: Yea. That was the intention. I've been constantly travelling for years, and was always spouting off everywhere about various anti-capitalist and anarchist topics in strange places. It's kind of been a theme in a lot of my releases.

G: Your works certainly don't mince words.

And your relationship with the evils of this world are more concrete than most people may imagine. In fact, up until very recently - you were homeless.

T: Yea, but I've been homeless a lot over the last few years. Joined OccupyDC in January 2012, which was essentially going to DC to live on the streets and march on Washington. Daily.

haha

So, yea, it sucked, but.....

I got better. I think.

It's tough to get off the streets, but, it's just about keeping your head up, and trying to stay on a path out.

G: Congrats on making it off the street.

I think it's amazing that living on the streets, you were able to continue making and releasing music, even doing all your own cover art

T: Thank you. Laptop and iPad. Just learned everything I could about everything I possibly could. I looked at music and art as a way to keep my head together, and maybe release some pressure of my situation, as well as at least keeping me in coffee and whatnot.

G: I must say, though this new release was recorded while homeless, and bears strong messages about the ills of our society - I often found the tone to be strangely peaceful.

T: I didn't want to make anything other that something that would fill the soul with a strange kinda smile and uplifting feeling. Life is short, miserable and confusing. I wanted to make something that for a bit, someone could escape into, leaving those feelings behind.

G: I believe you accomplished that. The blissful escape of it is tangible, even amid more chaotic sequences.

T: Thank you. It was somewhat tough, when the situation dictated a noise album. I did not want to make another noise album. Although I did release a couple one off noise tracks for a few comps and singles.

G: How do you think your creative process will change now that you have privacy, a place to keep your gear, and a myriad of other things people don't realize they have?

T: It won't. I've been working this way for so long, I don't see any reason to change it. I'm only here to share a story, to share ideas, I will not change much on how I create these things.

G: That’s the truest art, to continue expressing regardless of any change or situation, whether for good or for ill.

T: Thanks. I've got to stay true to this, even if it just relegates it to some 99cents bin of history.

G: Yeah definitely keep going with your creative endeavors. I'm looking forward to seeing what you do next.

T: The DVD.


G: Yes the DVD! What's that all about?

T: The audio track was recorded about a year ago, and Jorge Mario Zuleta contacted me about making a film. I said ok. I was on the streets at the time, and encouraged him to try and finish it for SXSW as I wanted to do something like project it onto the side of the homeless shelter. SXSW ended, I couldn't do it, so in the interests of getting it out there, I'm putting together complete wtf art package things for anyone who orders.

G: That sounds sick, sign me up for that.

T: It's going to be a box of stuff. Every single package will be unique in some way. A little part of Collections of Dead Souls.

_

Collections of Dead Souls’ releases can be found at https://collectionsofdeadsouls.bandcamp.com/

[VIDEO Premiere] BENJAMIN HINZ - "Deep"

Dive Into DEEP with Benjamin Hinz

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Benjamin Hinz - “Deep”

(Phillip K. Discs)

Wisconsin music maker Benjamin Hinz has been a sound innovator and creator for close to a couple of decades, and in that time he has participated in many audio projects and has also been a driving force behind boutique live sound equipment company Dwarfcraft Devices. His latest effort, Deep, takes the usual solo ambient guitar drone work he is well known for, and adds full band energy to create a dynamic release.

Deep challenges definition by combining drone, electronic, and rock elements that come together to take the listener on a tumultuous 22-minute journey through a murky, underwater environment full of mystery and terror. Beginning with a guitar drone that escalates into a full blown rock with unique electronic trim, Deep will draw you into the shadowy depths of oceanic fright. What lurks far below the frenzied chopping waves of an angry sea? Only you will know, when you dive into Deep.

Preorder Deep here:

https://philipkdiscs.bandcamp.com/album/deep

Video Premiere - Here is a five minute edit of Deep for you to test the waters with.



[Album Premiere] Headboggle Continues to Melt Brains with "Polyphonic Demo"

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Headboggle - “Polyphonic Demo”

(Ratskin Records)

Headboggle, who has been flipping wigs with a wild electronic spree of imaginatively composed synth masterpieces for years, releases Polyphonic Demo, a brain-bending collection of forty-four, one-minute tracks that serve as small windows into a series of different worlds. Right away, i want to analyze the word “demo” in the title. This is not a demo. I believe that in this context, “demo” is short for “demolition,” as in the demolition of the listener’s expectations of how recorded music should behave.

I can feel the gears turning inside of you. You are resistant to listening to a disc full of one-minute tracks, because you are convinced what it will just feel like someone flipping through their music collection, and listening to the first 60 seconds of every song. This resistance is not unnatural - but completely wrong. Polyphonic Demo flows like a narrative story, taking you on a tour through a hall of wonders, sharing a bite-sized piece of each strange chapter of your travels. It is highly unconventional, yet ultimately enjoyable way of experiencing Headboggle’s unusual musical perspective. Fans of Headboggle - you don’t want to skip this one.

From the label:

“San Francisco's Derek Gedalecia's long-standing HEADBOGGLE moniker has boasted over 100 releases in his twenty plus years composing and releasing music that spans from dense layered modern electronics, sputtering noise, modular and Buchla based synthesizer works, avant neo-classical, to giddy electronics and even ragtime piano, but none of these 100 plus releases have fully purged the deepest depths of unexplored sonic territories, with the inspired urgency and strategic extraction of unheard electronic compositions as his newest record, titled Polyphonic Demo, to be released on CD and digital this April 22 via Oakland, CA imprint Ratskin Records. On Polyphonic Demo, Gedalecia abandons all notions of what experimental music is "supposed" to sound like to offer a exploding, tense, exuberant, and refreshingly idiosyncratic take on synthesizer music. With forty-four one minute tracks, meant to be shuffled on CD or remain in their sequenced order, Gedalecia completely re imagines what is possible both compositionally and spatially within the confines of a sixty second track, or an album for that matter. Gedalecia constructs poignant, cinematic vignettes which offer a glimpse into dense, psychedelic zones. "Polyphonic Demo" is the listening adventure of abstract, yet masterfully grounded take on electronic music we've all been waiting for.  “

Track Premiere - Headboggle - “Country Club Road


“Headboggle splinters his typically all-encompassing style of synth composition into tiny one minute morsels & the results play out like fellow Bay Area legends The Residents on their Commercial Album: short and sweet, presenting each idea as a discrete miniature world and moving on. Derek presents a comprehensive taxonomy of the tones and strategies within his arsenal of synths and electronics, finding room for everything from glistening classical-informed harmonies to the bludgeoning rhythmic squelches that have become his signature. Across 44 tracks, Derek dilates time and sketches out some oblique narrative known only to him that seems to contain infinite details”.                      


- Max  Allison, Hausu Mountain 





Video for “Blue Guitar”




“ HOLY SHIT Headboggle has gone “commercial” with (44) one-minute jingles of brain-damaged intent. I can’t get over this joker’s Modern Ballroom Dancing © sound - puts me super smiley in the headspace of Mort Garson or The Residents. My favorite release of his so far.”     

                                                                                               

- Bran (...) Pos 



Derek Gedalecia, a.k.a. Headboggle, has been performing electronic keyboard-based soundscapes for several years in the Bay Area in over a hundred local performances at venues ranging from GTK to YBCA. Incorporating lowbrow with highbrow art, music, and comedy, Head Boggle’s intent is to fuse together a new ecstatic improvisational performance style with a carefully crafted musical underbed. In his formative years, Gedalecia studied classical and ragtime piano from noted ragtime composer/revivalist Dr. Brian Dykstra.

Preorder Polyphonic Demo starting 3/22/19:

https://ratskinrecords.bandcamp.com/

Our Conversation with Nathan Cearley of Long Distance Poison

Nathan Cearley is one half of Long Distance Poison, experimental analog modular synth outfit with over nine years of stellar releases. We caught up with him on a day off to talk about LDP’s new release Astro Topoi.

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Gray Lee:  So what’s your day off been like so far?

Nathan Cearley: Woke up at 5, went running, been watching movies

GL: Oh nice. Which ones?

NC: today I've watched an odd handful--The Bronx Executioner, Good Favour  and The Man Who Would Be King.

GL: I’ve seen none of those, but Bronx Executioner sounds good.

NC: The Bronx Executioner is a weird Italian cyborg film that was distributed by Cannon at the end of the 1980s.  Robots vs humans.  It has a crazy credit sequence at the beginning that has all sorts of weird video distortion and noise. There is a gang in it called The Humanoids

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GL: I already love it -

Let’s jump right into talking about Astro Topoi. That is awesome album, by the way. I was in the middle of several things and basically stopped all of my activity to focus on it.

NC: Wow, thanks.  what do you like about it?

GL: I really dig Liminal Diamond, when the beat comes in, and  about halfway through there’s this dirty, funky bass line that emerges. Really good interplay between that and the drones in the background.

NC: Thanks! that is sort of a dive into unassembled blues and funk. Like the other two songs on the record, that song unfolded completely by chance from the moment we were doing it. We didn't sit down and say, let’s do something that goes from droney into blues and then shifts into funk, but kind of weird and decontextualized. instead, one thing lead to another.

I guess the idea for the album was to have as little idea of time as possible, in the sense of goal-oriented time.  Like, lets make a song that sounds like this, or, let's do this and do this other part.

GL: Yeah that natural way that it moves from one zone to another really pulls the listener in.   And that’s something id like to dig into. This release is not 'computer generated,' but played live with analog equipment?

NC: Yes.  All three are mostly me on the modular synth and Erica on different analog synthesizers.  Most of the "composition" is psuedo-random, random or completely intuited, as far as sound, control over sound, and timing is concerned.

The long form piece, called Ausunya, was originally an experiment that came from a residency we had with Clocktower Gallery at Pioneer Works that explored how to create sound outside of typical modes of goal centric time. It was first performed there and then it evolved and was finally recorded. The spirit of that experiment is also how we made the other two songs - zero idea of an end point or goal underpinning what we were doing in the moment when bringing the songs into being

GL: How much does the recording end up differing from live performace when some of it is based in improvisation? Do you have an overall tone that you are aiming for?

NC: Rather than aim for a tone, we allowed the tone to create itself from how the sounds ended up manifesting.  So, in a way, the songs decided their own tone, or were part of that process, as the making of each song unfolded. We wanted to get our minds as out of the way as possible

The live performances of Ausunya changed quite a bit from the experiments at Pioneer Works to the performance there to when we finally recorded it.  Although, towards the end, the song decided to kind of reach a kind of stasis with regards to its parts.  after awhile it had a kind of structure that we didn't decide on and that just worked itself out.  there is a youtube clip somewhere of us performing at Silent Barn and its not completely unsimilar sounding to the recording on the album but if you compare either to some clips of the Clocktower Gallery residency event its really different but obviously related.



GL: In that way would you say this mindset is inverse to how maybe a rock or blues musician would improvise, watching for chord or rhythm changes? Do you make visual contact during the recording process?

NC: Lol, yes, probably, in that a rock or blues musician probably really knows what they are doing and we don't.  We don't even pretend to know.  We want to un-know the little we do know.

For example, we are not jamming chord inversions.  But we equally are not, not jamming chord inversions.  The practice is to try and avoid being dualistic whatsoever, but, quite different from a musican improvising in the fact that much of the reality of the music is being determined in the moment by the instruments themselves and the processes the instruments are engaged in.

GL: I think it's really working. The release has that transcendent feel without straying into psychedelic tropes

NC: Thanks!  that is the whole natural event of it:  autonomy, sovereignty of sound

It’s basically all proceeding from the strategy of what happens when the "musician" is removed from the music as much as possible. One time I was part of a really horrible improv group. it only lasted a couple meets. one of the men in the group looked at me one day and said, "You aren't a musician." it made me so happy. I was like, “Yes. Thank you.”

GL: It definitely takes on a life of its own

NC: Absolutely.  And, once the mind gets out of the way, something else is there--something very mysterious.

GL: This is your second release through Deep Distance. There seems to be a lot of contrast between the previous album and this one. The previous being a lot more tribal/meditational/ ancient sounding

NC: That album emerged from a really different context that also was weirdly similar.  but that album definitely had a kind of concept to it.  whereas this album was about neither clinging to a concept nor clinging to trying to avoid immanently emerging concepts

Human program was about trying to apply the tension between order and chaos, illusion and reality, simulation and ??? to sound composition.  so we wanted to really work and try to create orders and organizations of sound that appeared song like but that were in fact not.

But that album connects to this one because they intersect with the emphasis on process and psuedo random, random and intuited events

GL: I definitely think they work well together.

NC: Thanks!   There is also quite a bit of that play between apparent stability and real disorder in our two Hausu Mountain releases and our 2AM Tapes release.  In fact, on our last Hausu Mountain release, Knock Magh, there is a long form song called Ooch Nuch which is really a good example of randomness and intuition in composition that was literally like crazy weird mutant cell mutation where one duration unfolded or imploded or flipped out or exploded or whatever into another creating what should have been complete chaos but instead something weirdly listenable and relatable.

Same with this one song on the 2AM tapes release Perfect WeatherNodri Yaksha.  It unfolded from this kind of industrial martial thing into drone and then this Cure song.  Erica and I were like, WTF? It’s definitely related to evolution in the sense that there is really no master plan.  and circumstance creates the next form that becomes the next circumstance

GL: I like the level of thought that goes into your music before and after it's recorded.

NC: Ha, thanks!  but the funny thing is its an absurd amount of noticing how not to think.

Like, the mind is going to keep on spitting shit out.  the trick is to notice it without reacting to it.  we try to do that in parallel way when it comes to "making music"

But you always have to be aware.  you can't stop noticing. Then, the awareness becomes the letting go.

GL: Thats poweful. Where does the title Astro Topoi come from?

NC: It’s funny you say powerful because giving up control for just noticing and being aware of whatever is going on when its going on opens up the space for all this energy that would otherwise be lost in trying to impose time on the context and will on reality. there is an energy once you give up control. Once your thoughts are no longer wrapped up in the idea of what happened then or what might happen later.

Astro Topoi means “Space Places.” It was a conventional way for us to try and suggest that the songs have a presence with no direction - kind of like middles without beginnings or ends. You can just be with the sounds and not worry about being anything.

GL:  I think in many ways people are weary of being told what to think, and the message of this music is not to think but to be.

NC: Totally. or not to get entangled in your thoughts. Trying to willfully negate thinking is dangerous too, right?  but definitely, we hope that when people experience this album they can just be here. i think we are worn out with being a self, though--i think you are totally right about that. Modernism screamed:, “You gotta be someone, an identity, a self.  and we will give you all these commodities and narratives to accomplish that.”  And i think now people realize all this suffering in the world is a bigger problem than just political parties and political points of view...that there is this attachment to self underpinning the horror. Music is so amazing because its at one a thing and at once completely empty. And though it is used by modernism as a thing to create identities, it is equally a powerful way to cut attachment to self.

Noise, experimental music, the avante garde, jazz, whatever, can really pull the rug out from under the ego. So, its really horrifying at a deep level, because we equate that dissolution of attachment to death, rather than seeing it as freedom. That's why i get kind of crabby about how weird forms of music are being territorialized by capitalism through branding and social media.  through the simulacra of community.

it’s like modernism got a guard dog called postmodernism to save it from weird music robbing it of its treasure, the ego. Maybe music shouldn't be a form of self validation, maybe it should be a form of self dissolution. if the strategy, for sound, is creating the space for something new to happen, something not yet to arrive, something that is already here to be free to be seen, the attachment to self has to be cut. in that way music becomes the most important form of “validation”—it is the affirmation of the sacred or mysterious, whatever it is that is other than economy and rationalism and classification and thinking.

GL: I dont personally like talking about my day job but if youre cool with it, in your 'waking life' you are an educator? How does that influence your music or vice versa?

NC: I work in a gifted school that is almost entirely African American.  These are brilliant kids that society has thrown roadblocks against.  So, just like i see music as a way to cease suffering in the world, i see teaching in my context as similar. And on a really basic level there is also this struggle between goal centric thinking and the moment.  between right now and "then and next" Also, I try and remove myself as much as possible from the experience of learning and create systems, processes and structures that create the developmental events.  I kind of am more of a facilitator than a chalk and talk teacher.

GL: That sounds like an incredibly rewarding experience

NC: i guess its also like music in that its both rewarding and super frustrating, lol.

GL: Do you ever spin a LDP record in the classroom?

NC: Ha.  I did play an early mix of a track once to some guys who were in detention.  Then they wanted to come up for detention the next day to hear more. Today, they just find it online, something that didn't happen so much a couple years ago. It was there but they weren't so "google-ly" Now they are like, "cool show you are playing on Friday night." Or, "that video you made made me see things." Or, "what's with the flashing lights."

GL: Haha that’s wild. I go to great lengths to hide what I do from people at work. It seems like you are the same wherever you are.

NC: If you can figure out a way for me to hide the internet from my students, please let me know.

Well, I don't go on about making music.  Its such a academically tough experience for them that we are really focused on the work then and there.  but i think my "persona" is the same.  i wear my street clothes when i play out and i wear my street clothes when i teach.

i actually try and avoid talking about it with the other teachers more.  kids are like, whoa, that is weird.  and its a cool questioning and curiousity thing.  with adults, its like, i don't get it.  and the tone is like, you are a weird idiot. the kids aren't threatened.  their minds haven't been as conditioned.  it causes anxiety for the adults.

GL: Whats on the Horizon for LDP?

NC: Erica and I are working on a couple of new long form things, like inside out ambient, again, mostly created from autonomous psuedo random processes and structures and plain intuition. We are really focused on creating our version of an ambient album. There will be zero rhythm and lots of weird chords.

Also, Mark Dwinell of Forma and I have a Polytechnic Youth record that is just being released now of some raw early 80s'ish sounding industrial jams.  very different than LDP and Forma.




_ _ _



The LP of Astro Topoi is now sold out, but you can still obtain the digital version of the album here:

https://longdistancepoison.bandcamp.com/album/astro-topoi

Also, Nathan wants to give away some codes - grab them while they are still vaid!

wch4-5q5

nepch-bt2e

rfhh-wnxu

aw4s-cejp

rpps-w382

xnlb-hxcc

h5pm-epsw

479f-urws

4l2x-elld4

smj-ua5c












 

New Song From the Lyrics Generator - The Tangled Mango - "Storm"

Last year, we tried out the awesome power of technology in songwriting, in the form of The Song Lyrics Generator. We decided it was high time we tried it out again.

This time, I decided to be really topical and use a buzzword from current events. I chose “Executive Time.”

Please keep your input family friendly.

Please keep your input family friendly.

This time around, I went with ‘The Tangled Mango’ as our band name.

If you didn’t catch our last feature on this incredible new lyric writing tool - what follows is a series of screens where you choose from a list of prefab lines that populate based on your subject matter. Then - the site generates cover art with your band name, a title, and hands you a copy of your lyrics. It’s beautiful.

And so after some beep boop beep - Here’s a brand new song, waiting on someone to set it to music.( Feel free to do that if you like.)

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Storm


By The Tangled Mango

I found the landfall for me
A bourgeoisie for you and me
And every rainwater is carefree
Then you came with all your exploding
And I'm dancing because you're turnkey
I was disintegrating, eroding on my own
It's time we had some plutocrats
You must think I'm collaborationist
And now your proliferating is on repeat
Don't be afraid to try gravitating
Meet calculating thoughts
Don't like your boycotts
Provocations are not safe
I just wanna be part of your malefactors
You're always destabilizing when you lie
Do you mind if I steal a repression?
Your words cut deeper than an incitation
Lie lie

Gray Lee



[Video] Tmboy releases new video for "The Light"

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The Light is the most recent single from Tmboy's upcoming album, Steam, due out Feb. 8th. This is a special one - the electronic duo's powerful release features driving & evocative synth compositions and soaring, emotive vocals that hang timelessly in a dreamy ether above the mix. Full album review coming soon. For now, partake in this wonder:

 

 

Tmboy also announces tour dates to support the album release:

Feb 8 - Brooklyn, NY - Union Pool (record release)

https://www.union-pool.com/event/1796452-tmboy-record-release-brooklyn/


Feb 22 - Baltimore, MD - The Crown*


Feb 23 - Washington DC - Dew Drop Inn*


Feb 24 - Philadelphia, PA - Bourbon & Branch* -

https://www.facebook.com/events/2239011009496436/


March 1 - Portland, ME - The Apohadion Theater -

https://www.facebook.com/events/294054271299802/


March 2 - Boston, MA - Dorchester Art Project



* = with Operator Music Band

"Sacred Spells" compilation releases on Psychic Eye Records.

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Psychic Eye records has put together a solid compilation of twenty killer dark electronic, post punk, experimental/noise, EBM, and many other kinds of tracks by well known experimental acts from all over the world, to benefit the TGI Justice Project.

About TGIJP, Psychic Eye Says:

“From nearby San Francisco, TGI Justice Project was an easy choice as the compilation beneficiary for Oakland-based Psychic Eye Records. “There’s a lot of support for trans rights and a lot of concern for the safety of trans people in jails and detention facilities, so finding artists to contribute happened quickly.” says Sampson. “Hopefully our combined efforts can raise some funds for this organization, and maybe dark music fans will discover a few new bands that resonate with them along the way.” TGI Justice Project, formed in 2004, is a group of transgender, gender variant and intersex (TGI) people—inside and outside of prisons, jails and detention centers—whose mission is to create a united family in the struggle for survival and freedom. It was formerly overseen by the eminent LGBTQ activist Miss Major Griffin-Gracy, who emerged from the Stonewall Riots to become a prominent trans rights movement leader for decades. Since Miss Major’s recent retirement, the organization has been run by Executive Director Janetta Johnson.”

Our attention was first brought to this project by electronic artist Malocculsion, whom you may remember from our House of Cake project. They have an absolutely delicious track on here called Wormfood that sounds like beat-centric electronic mumbo jumbo that’s been disintegrated in a vat of intergalactic acid.

There is also a track from Cyborg Eye, whom we included in out 2018 Top 100 Albums of the Year. Their track, entitled The Death of Captain Rhodes, is easily one of the best tracks I have heard in 2019 so far!

If you like your electronic, experimental music dark, creepy, and for a good cause - this compilation is the one for you. Head on over to Psychic Eye records and have a listen for yourself!

https://psychiceye.bandcamp.com/album/sacred-spells

Gray Lee


 


Dinzu Artefacts Fall Batch

Batch Review - Dinzu Artefacts

If anything could be done to further cement the viscerally tangible aesthetic of Dinzu Artefacts, it would be the release of this October batch, replete with more found sound, field recordings, and tape manipulations than you can wrap an ear around.

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 Dominique Vaccaro -Close Distances

Close Distances is a slow ride on a conveyor belt made of burlap, teeth and oversized rubber bands. Each audio offering here is a hyper-aware focus on looped chatterings, clatterings, and spatterings that attains a hauntingly organic feel despite probably being recorded in a collapsing button factory. Vaccaro is able to take 'ordinary' sounds of everyday objects and turn them into abstract structures of layered sound that fool the ear and tickle the spine.

 

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 Ludwig Berger & Veronika Ehrensperger -The Capacity of Things to Act

This tension-laden piece is full of terrifying stillness and malevolent fury, allegedly recorded with a 'prepared harp' which is a fancy musical term that really means 'interdimensional helicopter made of nightmares and lies.' What begins as warmly vibrating drones quickly descends into dark and reverberating explorations of the rusted clockwork that operates purgatory. The sound on each of these tracks is dense, and heavily weighted with colorful swirls of shadowy energy, nimbly leaping to action and then falling dormant.

 

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 Weston Olencki & Max Murray - Gram

Treat yourself to this careful examination of pneumatic systems. Metal tunnels expand and contract, hissing with powerful surges of air. Valves squeak. Networks of pipes breathe with cycles of pressurizations, filled with rushing gusts of harnessed air energy. Tension builds as rivited seams of squealing conduits are tested by atmospheres of gushing power. Effort of breath is pushed through shaped brass, alloy tubes create bubbling sound in an exchange of expelled energy for sound output.

These three tapes are sold out, but digital editions are still available.

https://dinzuartefacts.bandcamp.com

Gray Lee

Houdini Mansions Top 100 Albums of 2018

This year has seen a tumultuous whirlwind of powerful new music, and we were here to witness it. At every turn, there was yet another stellar release from some artist or another. Like many others who attempted to observe the endless waves of new releases breaking upon our digital shores, I found myself overwhelmed by the magnitude of it all. I present to you:

The Houdini Mansions Top 100 Albums of 2018.

100. Buck Young - Proud Trash Sound

99. Johnny Utah - S/T

98.  Frank Wilke & Wayne Rex - Cobra Venom

97. Index of Refraction Records - Glimmer of Hope

96. Boycalledcrow - Hyperlight

95. Nikmis - #17

94. Disappearing - Untitled

93. Benjamin Shaw - Megadead

92. Young Scum - S/T

91. Ricardo Dias Gomes - Aa

90. Wizard Apprentice - I Am Invisible

89. Somesurprises - Alt

88. Voodoohop - Entropia Coletiva II

87. Pool Kids - Music To Practice Safe Sex To

86. EQ WHy - Life of the Why - The Mixtape, Vol 1

85. 土星4IO - 紫色の ホタル (_purple_firefly)

84. Molly Tigre - S/T

83. The Mighty Rhino - We Will No Longer Retreat Into Darkness

82. Exit Fear - Crestfallen

81. An Eagle in Your Mind - Miraculous Weapons

80. Tap Water - Amnesia Nightmare

79. Petridisch - Rêve d'un Rêve

78. Sponge Person - Eggo Jams

77. Kosmogyr - Eviternity

76. Fictional Girlfriend - Perfume Garden

75. Kibble - Lapses

74. Lafidkl - Derichan

73. b e g o t t e n 自杀 - (hushwave) - 治愈它

72. Pop Up - Tasty

71. Wilson Arcade - saturn audio system demonstration cassette 茨ヱめ畝ヹ

70. Dere Moans - Brain Mountain Disciples

69. Pepper Mill Rondo - E.D.M.

68. Glove Pilot - Thunder Suite

67. Pinkcourtesyphone - Romantic Threat EP

66. Fae & Seffi - Miraka

65. Saiwba - 輪 迴

64. Qualchan. - 100 Years

63. Spellling - Pantheon of Me

62. Qoheleth - Black Kite Broadcasts

61. Rangers - Late Electrics

60. V//Tomo - Dirty Oddesy

59. Stormland - Songs of Future Wars

58. Pony League - Picture of Your Family

57. Coffin Torture - Dismal Planet

56. McKinley Dixon - Who Taught You to Hate Yourself?

55. Ramble Tamble - Outlaw Overtones

54. Cartoon Forest - S/T

53. Madison Turner - A Comprehensive Guide to Burning Out

52. Quimper - Perdide

51. Whettman Chelmets - Annihlate Your Masters

50. Alan Morse Davies - Svalbard

49. C Moody Crews - T Zero

48. Little Kid - Might as Well With My Soul

47. Frog - Whatever, We Probably Already Had It

46. Tanner Menard & Andrew Weathers - Wanna Live in a World w/a Whole Face

45. Long Distance Poison - Astro Topoi

44. Surfing - Incubo

43. Fire Tools - Skinless X-1

42. String Modulator - Manifesto

41. VVV - Canson Months

40. Crosby Morgan - Rain Games for the Natural Born Pariah

39. Haunted Gauntlet - OM3G4 G3N3SIS

38. Quicksails - The Bright

37. NUM - Memory Machine

36. Dekonstruktor - No Way Back

35. Dan Mason - Void

34. Wellness - Mall Goth

33. Valyri - Expanses

32. Hide - Castration Anxiety

31. Super Hi-Fi - Blue and White

30. Honeyfitz - Cutting Your Hair

29. Rhucle - New Rain

28. Andy Burns - Excited

27. Yves Malone - The Most of What You Need Is All You'll Ever Have

26. The Tuesday Night Machines - Hawaiian Yurt Music

25. Illuminati Hotties - Kiss Yr Frenemies

24. Third Kind Records - Puzzle Time/ Puzzle Time 2

23. Cyborg Eye - Demo 1983

22. Apricot Blush - Where Blew a Flower, May a Flower No More

21. Doom Trip Records - Doom Mix Vol II

20. Papa Manzano - Ritualism

19. French 75 - S/T

18. åmßêrVVåvê§ - Organics

17. Ursula's Cartridges / Kizunaut - 07:15:14:05 OFFLINE

16. Adderall Canyonly - Museum of Fire

15. Bary Center - Betrayal

14. Valet Girls - Lost Wrld

13. William Carlos Whitten - Burn My Letters

12. Bast - Nanoångström

11. Mukqs - 起き上がり 

10. Ben Boogz & Doc Reevez - Thousand Islands of Death

9. Long Neck  - Will This Do?

8. Scientist - Barbelith

7. Recluse Raccoon - S/T

6. Barbara Morgenstern - Unschuld und Verwustung

5. Diamondstien & Sangam - The Ocean Between Us

4. More or Les - Nerd Love

3. Dinosaur on Fire - Populous Romantique

2. Tarkamt - Live at the Necropolis

1. Megan Jean & The KFB - Tarantistas

Gray Lee

 

The Hoodoo Music Festival. A New Upstate Tradition?

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The Hoodoo Music Festival. A New Upstate Tradition?

The inaugural Hoodoo Music Festival (HMF) rocked the suburbs on Saturday, December 15th at a house venue in Greenville, SC. Nine musical guests brought exquisite sonic sensations that titillated eardrums from the early afternoon to the late evening.

The Hoodoo Music Podcast-a fortnightly show featuring musicians from the Upstate of South Carolina-served as the catalyst and inspiration for the event. Mark Jones, the podcast’s host, relates the origins of the festival. “Several people who are supporters of the podcast and the local scene at large decided that they wanted to put together a festival of bands who have been on the podcast,” Jones said.

The planning and execution of the event was an organic and harmonious undertaking with love for local music being the prime motivator. Lin Young and her husband Tom Goss hosted the event at their house venue, Turkey Point South. “When we heard there was going to be a Hoodoo Music Fest, we immediately offered our house,” Young said. Turkey Point South offered a spartan, yet cozy atmosphere; an unfinished, unheated basement made warm and inviting by the conviviality of the hosts and the passion of the performers and festival goers.

The festival sported a diverse lineup of musicians and groups reflecting favorably on the eclectic variety of the Upstate scene.

Singer-songwriter Gray Lee (the driving force behind Houdini Mansions) kicked off the festivities with his dark-folk musical stylings. Lee delivered a rousing improvisation of the Hoodoo Music theme with musicians from other bands providing guest accompaniment.

Gray Lee kicks off the festival.

Gray Lee kicks off the festival.

The festival’s momentum kept building with Revelator taking the stage and serving up 90s alt-rock nostalgia in heaping dollops.

Revelator started at “11” and then cranked it well past that for their blistering set.

Revelator started at “11” and then cranked it well past that for their blistering set.

The event then returned to a coffee-shop vibe with singer-songwriter Loyd Van Horn’s energetic folk rock and raspy vocals.

Loyd Van Horn.

Loyd Van Horn.

Genre-wise, the HMF took an abrupt left-turn with rapper Ty Graves laying down his wicked flows over deliciously grooving beats.

Ty Graves takes the stage.

Ty Graves takes the stage.

The musical mash-up continued with genre-defying rockers Finding Freedom playing songs ranging from country, classic rock and nu-metal. The Apartment Club then took the stage delivering blistering post-rock with emotive, melodic vocals. Civility and good sense then took a brief intermission when swamp-punk duo Boo Hag dished out their frenzied, Pabst Blue Ribbon-fueled set.

The rowdiness continued with Horrible Girl and the Hot Mess bringing feisty punk with catchy choruses and power-chorded aggression. The event culminated with Apricot Blush packing the stage as a collective of talented troubadours brewing their unique mojo of indie folk. The night climaxed as the audience donned blue choir robes to sing along with the crowd-favorite Antlers.

Those involved with the event deemed it a roaring success pointing to the fact of being able to collect donations of canned food, money and clothes for the non-profit organization Food Not Bombs. “I personally had a blast,” Jones said. “I think it turned out very well, and we managed to pull together some good donations for Food Not Bombs.”

“We were able to give a pretty substantial donation to Food Not Bombs,” Young said. “And I feel like a bunch of beautiful people had a great night here. I know I did!”

When asked if the HMF will be a yearly event, Jones replied, “I sure as hell hope so!”

Theron Willis

Apricot Blush brought the house down with their crowd-pleaser Antlers! Check the exclusive, live-performance video below!

[VIDEO] Pretty Matty - "Kicked Out"

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Toronto rockers Pretty Matty have released a video for Kicked Out, a standalone single with plans to release next year.  Kicked Out carries forward the exuberant and fresh songwriting that  characterized the Pretty Matty EP released earlier this year. Don’t miss it. It’s really short, but a lot of fun. And don’t forget to nab the Pretty Matty EP, either. You can get that here:

https://prettymatty.com/album/pretty-matty-ep

ALSO: here's a huge event featuring Pretty Matty:

https://www.eventbrite.ca/e/class-of-2019-little-junior-good-kid-nobro-wine-lips-pretty-matty-tickets-52878633416

 

[Video] Pacific Plaza Releases new Eccodroid CDR

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Today, vaporwave producer and vocalist, Eccodroid releases Hologram Hex, a four-track album on 3” CDR format from Pacific Plaza Records. The release features a rainy and cool vaporwave vibe with original lyrics and vocals, a signature of Eccodroid’s style.

Hologram Hex opens with a A Thousand Missing Calls, a moody electronic piece augmented with thunder & rain samples where Ecco delivers an almost disaffected vocal reminiscent of Damon Albarn’s dead-eyed drawl. Fading carries the theme forward with a slow jam with a gentle bass line and ambient backings, topped with a reverb drenched vocal that drifts in an out of the spotlight. The third selection, Low Def, is built on a driving beat and a looping synth pattern, while the title track, Hologram Hex, closes out with groovy bass, some panned accents, and a nice buzzing synth solo after the first chorus. Other unidentified sounds tumble in and out of the mix like a ghostly bowling alley.

Overall, this release is a natural step in Eccodroid’s evolution, introducing new elements and techniques that play well into this thematic work, and presented in an artistic, collectible fashion with Pacific Plaza sensibilities.

Gray Lee

[Video] A Thousand Missing Phone Calls


[Track Premiere] Runescarred's Homage to Iron Maiden's "Moonchild" Rocks Your Halloween!

 

I’ve been a huge fan of Iron Maiden for years. If I had to choose a legendary rock band that exemplified what Halloween is all about, I would choose them without thinking, and that’s why I was stoked to find out that Texas prog metaliers Runescarred had done a cover of one of my favorite Iron Maiden songs, Moonchild, and are releasing it today.

I was not disappointed! This band is ripping up Halloween with this blistering cover of Moonchild.   Frontman Ven Scott tackles that iconic Bruce Dickinson style, with plenty of Runescarred’s own wicked flavor thrown in.

Says the band:"Maiden fans, raise the irons to the sky! Runescarred's version of "Moonchild" will have the mandrake screaming to #GetScarred and you along with it!"

About Runescarred

Rising out of the ashes of Austin, Texas legends Dead Earth Politics and joining forces with the drummer of regional heroes Southern Front, Runescarred are making a mark on their regional scene and beyond.  The dynamic voice of frontman Ven Scott guides the band from titanic highs to stunning lows and sees the group fusing the musical stylings of everyone from Lamb Of God to Iron Maiden into their thrilling live show. Their debut EP We Are showed the band delivering a veritable tour de force, exploring every aspect of their sound and proving definitively that they are one of the most potent bands on the scene right now.  Just as likely to pull you into the pit as they are to bow a head in self reflection, it’s hard not to be impressed by this Texas metal legion.

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New Releases Set a Spooky Mood for Halloween Night

Halloween and music are deeply intertwined, from horror movie soundtracks, to ghostly dark ambient vibes. Here are a few choice releases that can get your blood pumping, WHILE YOU STILL HAVE BLOOD!

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VHS GLITCH - “They Made Me an Animal

This synthwave concept piece is full of creepy fun, referencing all the great 80s horror film soundtracks, and supercharging them with aggressive beats. It’s got the scare vibes and chase scenes all strung together, with enough masks, knives, and buckets of blood to make you scream!

This is John Carpenter on a futuristic motorcycle, riding down a desolate highway at night, being chased by a massive, stop-motion animated winged beast.

https://vhsglitch.bandcamp.com/album/they-made-me-an-animal

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NEO LA - “Grave Wave Volume II”

(Neo LA)

Another entry in the great category of synthwave + Halloween is Grave Wave Volume II, a formidable follow-up to last year’s chilling Volume 1. This compilation pulls together a wide variety of artists who all have the same goal, to scare you to death, but in a stylish, retro way - with plenty of great synth patterns, thumping rhythms, and a smattering of fun horror samples & sounds. Hang your spiderwebs and carve the pumpkin, it’s time for the gouls to come out and play.

https://neo-la.bandcamp.com/album/grave-wave-vol-2

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FACEXHUGGER - “Sci-Fi Violence”

Although not strictly a Halloween themed release, this jammer by FaceXHugger is the real deal. Plenty of retro sci-fi horror sounds await in this fantastic release. Be frightened by the speed and ferocity of Day Walkers, or the creepy credit sequence formality of Ethos of Betrayal. And let’s not forget to mention this amazing cover art, which I would file, like this album, under ‘best of.’

https://facexhugger.bandcamp.com/album/sci-fi-violence

 

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FICTIONAL GIRLFRIEND - “The Hatred”

(Power_Lunch Corporation)

Dark vaporwave artist Fictional Girlfriend is at it again with another shadowy journey through a hell dimension. This release features a spooky concoction of disintegrated samples and pulsating rhythms that’ll have you looking around every corner for a jump scare.

https://powerlunch.bandcamp.com/album/the-hatred

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FAE & SEFFI - “Origin of Conflict”

(Girly Girl Musik)

This nightmarish descent into darkened regions of purgatory has got all the shadowy ambient overture and twisted synth madness you could hope for. It’s a new dead day dawning on a bleak landscape of horror and despair. Don’t miss it!

https://girlygirlmusik.bandcamp.com/album/origin-of-conflict

Gray Lee

Floppy Copy #2

Spooky times are upon us!

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NIKTO - “Nikto”

(Power_Lunch Corporation)

Scope this Power Lunch reissue of Nikto?, a spooky halloween album that came out exactly a year ago tomorrow. Freak yourself out with selected tracks ⍹¡Ŧͼℏβᴓ⟑ᴙƌ, Ka Dab Ra, and Broomstix in frightful floppy format!

https://powerlunch.bandcamp.com/album/nikto


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Write here…

Myst “GAC042”

Face Dancer 顔ダンサー & ミスト M Y S T - 空の限界  - “GAC042”

(Gulf Audio Company)

This steamy split by Face Dancer 顔ダンサー and ミスト M Y S T has just the jams to get you in the zone, with the sultry pop tune, Cloud Syrup, and the hot dance tune, 空の限界! Released in glorious 16 bit sound on the most sensual music format available - 3.5” floppy!

https://gulfaudiocompany.bandcamp.com/album/gac-042

 

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AWSIDS - “pyramids”

(Strudelsoft)

My favorite new floppy release is pyramids by AWSIDS. Solid synth patterns with light ambient backgrounds make for a smooth listen. There is a track for each of the Giza pyramids (KHUFU, KHAFRE, & MENKAURE ) Did you know the base of every pyramid is a square? Get this pyramid music on the squarest format! Floppy disk!

https://strudelsoft.bandcamp.com/album/pyramids

Gray Lee