Our Interview With RXM Reality about "DEViL WORLD WiDE"


Chicago electronic noisemaker, RXM Reality returns for another stunning release on Hausu Mountain. Devil World Wide is a supercharged chunk of fragmented energy, pulsating through layers of microscopically sampled sound, cascading through eleven layers of grimy, scattered electronic whiz-bangers. I had a chance to spend a little time with RXM and delve into the creative machinations behind the music.

Gray Lee: First of all, Devil World Wide is a really cool release. Definitely a good fit for Hausmo. I was digging around looking for all your releases, are the Hausu Mountain tapes the first physical releases?

RXM Reality: Thanks! All of my releases this far have been cassette/digital. Prior to the Hausu releases, I’ve had two on the label “We Be Friends,” which is run by Justin Randal aka Reaches. One on Crystal palace, a cassette label based here in chi run by my roommate and friend Pat, and one on Pretty Alright, the label run by Tom Owens aka Potions. They are all pretty different sounding to me. I’ve posted a bunch of random stuff on bandcamp and soundcloud over the years.

Much love to max and Doug though. This newest one is my proudest release.

GL: Awesome. Each your releases seem vastly different. Even between your two Hausmo releases. I feel like Panic cycle could have been called manic cycle. There’s almost a jubilant energy. The new one seems more brooding and aggressive. Or am I just more brooding and aggressive and I’m projecting? What kind of role does mood/emotion play in your recordings?

RXM: Actually Panic Cycle was made during a much darker time. This new one was made throughout the winter and it’s been the best year of my adult life.

But, I think being more stable allowed me to get darker and weirder with the music itself because I was more comfortable getting into the dark stuff

There is a definite aggression though, in the new one. But mostly I’m chill these days

RXM’s 2018 release,  Panic Cycle .

RXM’s 2018 release, Panic Cycle.

GL: Rock n roll man. I really dig the new thing. There are a lot of movements and changes in texture and style.

RXM: I’m super into tha texture

GL: For the gearheads who probably read my page,I gotta ask - What’s the equipment setup like these days for you?

RXM: This album was made mostly with the Elektron Digitakt and Ableton. I record tons of Digitakt sequences than cut them up and layer them In Ableton. The Digitakt is huge for me . I can play a whole set with just that. Everything goes through the Elektron analog heat for processing. There’s some MPC 1000 on it but not as much as the previous releases. I just got a Monomachine and a midi guitar system but that’s not on the recordings yet.

GL: The sound of Devil World Wide is so cohesive. There is a chaos to it, but I have no problem believing everything is happening in the same universe. Do you like to spend a lot of time crafting your samples and getting everything all set up and then just go wild and live record the mayhem?

RXM: Yep, I spend sometime working on the Digitakt alone. I sample myself a lot. I sample old clips from past songs of mine. I’ve got like a meta bank of samples that I’ve built over the years. For me the specific samples, however, matter much less than the sequencing and the processing. It’s super granular. I chop and chop beyond recognition. That’s what kind of makes it all seem like the same world because it all pretty much goes through the same process. But I’m like constantly distorting and manipulating everything in a similar way

GL: I’m really fascinated with that method of developing a signature sound bank for a composition or an album. I can certainly see a progression and a refinement of that process in each successive release.

RXM: Totally. It’s been building since I started this kind of music pretty much. I love how artists like Burial and Sophie have their signature sound. Like it could be no one else. Like a watermark. I want be like that more and more.

GL: Exactly. It seems embedded in the most minute detail, every stylistic choice leads back to the core aesthetic.

RXM’s in-house producer.

RXM’s in-house producer.

RXM: Yeah I wanna make like a radio style drop for my next album. Like a specific sample that creeps into every song.

GL: A pretty rad idea my friend. Where do you draw from when it comes to content? Do you have a loose concept in mind, or figure things out in the aftermath?

RXM: For me it’s so tied to learning production techniques either on the computer or on the sampler. I just get very studious and watch like dubstep production tutorials. It’s almost like I don’t view it as art but like a little building project I’ll start songs with a certain rhythmic or production idea I want to learn, and then build everything around that sketch. I took a bunch of notes and listened in my car, which I never used to do. I’m constantly editing and processing.

GL: There's definitely a sculpture aspect to the work. I can picture you hyper-analyzing mixdowns on the highway.

RXM: Yep

GL: I want to thank you for taking the time today, RXM Reality, to give me some insight on your new release. I’m looking forward to seeing it out in the world.

RXM: My first interview! I’m honored.

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


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:


333REDUX Elevates Collaboration to New Levels


Creative dynamo and No Part of It label head, Arvo Zylo is constantly immersing himself in art, writing, and music culture. One of his most outstanding personal projects, 333, is a powerhouse of rhythmic industrial noise that pummels with it’s unending grit, while continuing interest with new emergence of detail around every corner.

After releasing 333, Arvo decided to invite a significant group of sound artists to take the original 333 material and reimagine it. With 33 artists signed on to collab, the project seems to have taken on a life of its own, becoming an entirely different beast than the original piece.

What these other artists were able to bring to the project was their own visions, and their own varied experiences - which temper the material in a unique way. The result is a surprisingly cohesive musical work that has a definitive vibe running throughout, while continually shifting the minute to minute details. There is a lot of experimentation here with noise as an instrument or a musical device, rather than using musical instruments or devices to create noise.

Worth the price of admission just for the titles, be prepared to have your ears gouged by ripping tracks such as the fuzz-infused electro freakout of Pretzel Days at the Stripper Nebula by AODL, Freakish child voice samples and lo-fi beats of One Two Eight Nine Six by Sudden Infant, or the half hour excursion into mechanical leaning drones and the mournful cries of dying organs of ZRMFXL by Bull of Heaven. Those are some highlights from what is a truly overwhelming work. In fact, this ‘REDUX’ release is so far removed from the original material that it stands separate and squarely above it in terms of scope, variation, and sheer vision.

There is a powerful sense of energy and rhythmic urgency in 333REDUX that permeates the entire runtime. I recommend enjoying this release in its entirety, in a listening setting. 333REDUX is available in digital format, or on DVD. The DVD version of this release adds contributors videos to the experience, and are printed on demand at No Part of It.

Gray Lee


[Video Premiere] LONG DISTANCE POISON - "Astro Topoi"

Long Distance Poison - "Astro Topoi"

(Deep Distance)

Brooklyn, New York-based Long Distance Poison is set to release a new record through UK label Deep Distance. Astro Topoi is a 38-minute journey into a musical dimension that rests squarely between science fiction and space fantasy.

The opening track Ausunya, occupies half of the release’s runtime and is a highly varied journey through several musical zones, from sparkling vistas of wide open spaces to electo-robotic thought patterns that weave in and out of heady drones, ending in satisfying deepness.

Liminal Diamond is a trance-like vision that evokes far-away places beyond our limits of existence., merging patient drone-work with pulsating rhythms. Sol Umbra continues the theme of layering artistically rendered analog synthetic sounds with diaphanous walls of cosmic vibration, punctuated by thumping beats.

Astro Topoi continues its travel through the starry heavens by including an essay by the science fiction writer and poet Peter Milne Greiner.

Included here is a video for Sol Umbra. These striking visuals, created through video synthesis - are a real mind-bender! Enjoy!

Gray Lee

Astro Topoi is out later this month. More details available from the label.

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