Headboggle - “Polyphonic Demo”
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:
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.
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
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 Weather, Nodri 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:
Also, Nathan wants to give away some codes - grab them while they are still vaid!
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.”
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.)
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
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)
Feb 22 - Baltimore, MD - The Crown*
Feb 23 - Washington DC - Dew Drop Inn*
Feb 24 - Philadelphia, PA - Bourbon & Branch* -
March 1 - Portland, ME - The Apohadion Theater -
March 2 - Boston, MA - Dorchester Art Project
* = with Operator Music Band
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!
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.
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.
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.
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.
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
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:
ALSO: here's a huge event featuring Pretty Matty:
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.
[Video] A Thousand Missing Phone Calls
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!"
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.
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!
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.
NEO LA - “Grave Wave Volume II”
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.
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.’
FICTIONAL GIRLFRIEND - “The Hatred”
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.
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!
Spooky times are upon us!
NIKTO - “Nikto”
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!
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!
AWSIDS - “pyramids”
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!
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.
Julian Abraham 'Togar' - "Acoustic Analog Digitally Composed"
Released recently on Indonesian artistic platform, Hasana Editions, Acoustic Analog Digitally Composed by Julian Abraham is a striking collection of audio works centered around percussive sounds that have been digitally manipulated.
The first several tracks are rhythmic pieces that are like movements of a complex piece of intricate machinery. Kinetic hardware comes together in a symphony of clattering onomatopeia. Gears click, wheels spin, and springs snap. Later in the album, the sounds become mechanical in other ways energized with humming, buzzing energy. Throughout the release, precise placement and execution of each sampled sound makes this release a fascinating listen. While individual tracks are relatively short, the continuing theme makes the audio experience a singluar one.
Julian Abraham is a multidisciplinary artist who experiments in repetition and aural complexity here to great effect, creating an accessible album that is deeply focused and enjoyably convoluted, while remaining conceptually streamlined. Climb into this intricate piece of clockwork and enjoy the percussive marvels within.
Long Distance Poison - "Astro Topoi"
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!
Astro Topoi is out later this month. More details available from the label.
Emaili Dom at:
to get on the Deep Distance mailing list.
Follow Long Distance Poison’s discography here:
California based vaporwave producer Trucks Passing Trucks has a crisp, clean musical style that involves using video game soundtrack samples carefully layered with other engaging sound sources.
TPT’s previous album WaveRace64 was released on 3” CDR format with some creative & nostalgic packaging, but this time around he turns his attention to the iconic franchise of Pokemon.
Poke Passion Flower is a pleasing blend of flute samples and clips from the animated Pokemon TV show that is evocative of the comforting sounds of Saturday mornings gone by. This track is presented in the music video below, and is released on 3” rectangular CDR format - just like the shape of a Pokemon Card!
Fans of Pokemon & vaporwave will certainly get a kick out of this Pokewave release. Check out Poke Passion Flower in this exclusive video premiere!
Poke Passion Flower, in released in an edition of 45.
Head to this link to get into this new music from Trucks Passing Trucks:
DMT Tapes recently presented a month-long digital festival with a different vaporwave release every day.
Vaporwave netlabel, DMT Tapes has been releasing music in prolific proportions since 2014. A careful balance between releases from pillars of the genre and newcomers, DMT has amassed a discography both impressive, and formidable to preside over. We caught up with label boss, Vito at his Port Richey, Florida compound, to discuss Vaporwave is Alive 2, a digital festival where DMT released a different vaporwave album every day for the entire month of July.
The DMT Tapes compound is housed in an unassuming mid century split level home on a beautiful twenty acre property, approached by a long winding driveway lined with palm trees and hedges trimmed in the shapes of dolphins, tigers, and flamingos. An arched wooden doorway opens into a long hall lit by blue neon lights and lined with Greek busts on pedestals.
At the end of the hall is a large white room filled with floor-to-ceiling posters of DMT cover art. In the center of the room is a massive multi-screen display for an array of computers. In this ring of technology, seated thoughtfully on a hand-shaped throne is Vito, DMT Kingpin. After exchanging pleasantries and handing me a florescent drink in a martini glass, Vito, clad in a white polyester suit and a neon green necktie, adjusts his sunglasses and casually glances at the myriad of monitors behind him.
HM: "An album release every day for an entire month. What an insane idea! What made you decide to do this?"
V:" The truth is? I never was a huge fan of albums where artists contribute one track each. It’s just a giant list of names and one-off tracks that are disconnected. Some releases like this are totally cool… but for myself, and for a DMT album? I just wasn’t feeling too inspired.
in order to let you know about this event, I have to tell you some of the origins of the idea with the first time we did it in January 2016. The idea hit me as an inebriated hunch in early October of 2015, shortly after beginning the launch of our 2nd season, DMT[REC]. What if instead of doing one giant album with our favorite artists releasing one song each… why not inflate the idea up to insane proportions, and give each artist an entire album to work on? Instead of a 31-track album with 31 artists, a 31-artist month with an individual day going to the artist instead of just a mere track.
This is roughly the inspiration for the whole project. All in all, that event was one of the funnest things I’d ever did, and I told myself I would do it again if this label thing continued on for me.
[Vito reaches down to pet a purple and green striped tiger that has entered the room. It saunters to a low chaise lounge in the corner and curls up on it for a nap.]
HM: “There is certainly a wide range of artists who showcased their work in this event, including yourself. Did you find it difficult to be creative with your own projects, when coordinating such a large undertaking?”
Awesome question, thank you. The funny thing about it is, I made a specific discovery during the VIA2 planning period. Namely, that I indeed became supercharged at personal creative pursuits when tasked specifically with the only challenge of difficulty faced all event long. On the last day of the IndieGoGo, I was faced with this: “We only made 84% of our crowdfund, so I’ll have to make some of the releases myself. Probably 8 to be safe, in order to still pay out every artist a $20 like I’d hoped” This is because the final disbursement was around $480 after additional IGG garnishing, totaling out to 23 artists and leaving 8 vacant days. My normally anxious self felt emboldened by the challenge, and right away, all these album ideas I’d written down but never fully committed to (some from recent, some dating all the way back to 2015 and earliest label days) started coming forward. I didn’t feel like the event was ruined at all due to not meeting the exact goal amount, as it had both freed me up to create several long-forlorn experimental releases & forced me to do it all in a timeframe I don’t think I’d ever worked in before. My normal self was, this year, working at a pace of about 3 albums a month until this event. Nearly tripling that output this month didn’t feel stressful at all. Thought that was pretty nifty
HM: I’m sure you receive a good deal of submissions. How did you decide who to include in VIA2?
VIA1 & 2 were both pretty different in this regard! Back during season 2, we actually had a policy that all releases came from approaching the artists rather than having an open line for submissions. It was mostly a combination of recontacting preexisting DMT-FL artists (mostly all met through PM on either Reddit or Soundcloud in 2015) and discovering new acts that sounded like they fit our general motif. Back then, the name recognition for DMT-FL was still not as strong and I had to do a lot more personal introductions as to what we’re all about. Luckily, for VIA2, enough people have heard of the first event and of DMT Tapes FL that I actually received nearly an entire month’s worth of submissions before the crowdfund had even made its first milestone. It’s very rare to have to chase anybody down anymore, I’m happy to say. I also encourage people to let me know straight-up if it’s not for them, so that there isn’t that situation of an artist being too nice to say no or something similar messing with the event’s pacing. Both events, I tried to have two deadlines on both the 31st of the month before the event (Jun 30th this time), and then a secondary deadline a week before any final release. Last year, we ALMOST had an artist let us down, but luckily we got their music in at just the nick of time. I decided this year that anybody who couldn’t meet that would get bumped to August by default, and then if they were suddenly ready in July after all, they’d take a slot of my own and my own release would get the August bump. This way of setting it up helped me safeguard that there won’t be a sudden day of no release. That was my biggest biggest fear when we did VIA1!
[Vito rises, and beckons me to walk with him to a large wooden doorway. As we approach it, it swings open and we pass through it into a beautiful courtyard. The focal point of this circular area, paved with flagstones, is a large fountain, featuring a Greek statue of a one-armed goddess holding an Amiga II computer. ]
HM: Is the title ‘Vaporwave is Alive’ a direct response to the popular ‘Vaporwave is Dead’ meme that has been circling the interwebs for a while now?
I really find the Vaporwave is Dead/Alive/Undead meme to be one of the most interesting meta-attributes of this genre scene. On one hand, you have the fact that it was actually declared dead before anybody had even heard of it! I could be getting my facts wrong (I googled to try and confirm but the results are a little inconclusive), but I think the word vaporwave was first coined in 2011, and it was already declared dead in 2012! Meanwhile, chillwave ended up being the genre that died an unfortunate death into obscurity as the early ‘10s became the mid-, and it was at that time that vaporwave proved itself by resurging for the first time in 2013.
I consider the two major catalysts of “vaporwave’s undeadening” to be the rise of Luxury Elite (both musically and labelwise with her opening of Fortune 500, which lasted all 2013 long and closed Jan 2014 right as Dream Catalogue was opening) AND the opening of Business Casual in that same springtime of 2013. The netlabel medium had officially crash landed into the vaporwave scene, and so the next series of its popularity led up to the first time I personally saw it declared dead in 2015. I actually remember even getting a tad riled up the first time I saw it. “Dead!? But there’s more music and musicians here now than EVER before. How is that possible?”
I definitely sought the circumventive title of Vaporwave is Alive out of reference to the fact that the genre had already resurrected, fallen, and risen once more. Funnily enough, vaporwave has been declared dead in mid-2016, parts of 2017, and of course at least once in current year. Nowadays I see the more memetic sense of it, when there were digital soothsayer types in 2015 who were actually trying to declare the sound to be over & participation dwindling. I’ve noticed over the years a typical (yet understandably recurrent) happening of a major player moving on taste-wise or inspiration-wise and declaring their interest in the genre to be dead. Deep down, I think that’s what’s happening more than anything: the magic might morph into something else to certain listeners, and the ‘dead’ effect may be the individual’s observation that the honeymoon phase they’ve had within a scene is over. Yes I really think the constant rebirth attribute to vwave has actually in some ways safeguarded its staying power. Though more than anything, its ease-of-entry to new producers and monstrously giant catalog of releases across the genre are the two biggest factors that keep Vaporwave alive and kickin
HM: Whats the quintessential vaporwave album for you?
Rose Quartz! released in the first week of 2013 by Luxury Elite, I consider this to be one of the most classic releases both in objective style and in terms of personal influence. I listened to the album for the first time on a drive to Orlando in April 2014, on my way to go see one of my best friends, Danielle (who has become my fiancee to this day.) This album embodies the artistic prowess that comes with sample curation and homogenized production, and how each track doesn't sound like a separate song from a separate artist but like they were all concocted by the same person in the same studio. That's what I love about vaporwave so much: you'd never guess that tons of artists/songs/albums were used in the creation of a single work, if the artist knows what they're doing.
HM: The name of your label ‘DMT Tapes’ confuses me, since I cannot find any of your tapes for sale. Where are the tapes?
The name! I'll give you the full & specific history. So first... we’ve never had a physical release and I don’t have any interest in bringing a business/customer service/sales infrastructure to my life. I really just am not that type unfortunately (I’d be a lot more savvy at virtually everything maybe if I had such aptitude). The ‘tapes’ is intended to be the verb, e.g. “He tapes his vacations in Florida every summertime.” The idea is that DMT Tapes FL is actually a full sentence, ‘Dimethyltryptamine Tapes Florida.’ During the year I formed the label (2014), I’d been particularly interested in the metaphysics of the psychedelic neurotransmitter DMT and one of the more interesting pieces of speculative fiction I wrote (purely for fictitious entertainment; I’ve always wanted to be a novelist or short story writer) postulated that DMT was either ‘the consciousness molecule’ or ‘the nostalgia molecule’. A short story about DMT being the molecule that keeps a person ‘on’, and a series of short stories about a group of Floridians across the state who were all affected one way or another by nostalgia or psychoactive experience in their everyday consciousness. The stories would eventually weave together, and… that’s about it. My attempt to sum up a synopsis for my story came out as ‘DMT Tapes FL’, with the mental image of an anthropomorphic DMT molecule holding a video camera while pointing it at Florida. I never physically had that image made up, but some artsy form of it would be my ideal commission if I ever do get this story up and running one day. I’d really like to, since the synopsis attempt for this hypothetical story ended up being my label name. I chose to name the label after it because of how intensely the idea of nostalgia and psychoactive consciousness is to the vaporwave genre (which I had been interested in for only 1 year at that point when starting the label up). The name just felt right. and still always does :)
The Vaporwave Is Alive 2 Releases:
SPORT3000 - “Dialate”
われらは平和に来る≌≟ SUNSHINE STATE SECURITY - "Support Main"
BODYLINE - “ファンタジーモニター”
opal東京 - “Friendswave”
HAIRCUTS FOR MEN - “1982”
ARASMAS - “Midnight Radio”
MODERN FOUNTAINS - “Pacific Clear”
MR. OCEAN - “Termini”
PURPLE PALM - “Ramada Radisson”
TVVIN PINEZ M4LL - “Challenge Accepted”
FAIRLANE ELECTRONICS - “SuburbiaSimulator.zip“
ll nøthing ll & MIDI에l - “Euphoria“
PSEUDO N764 - “July 15th”
DISCO BAMBINOS - “Videoclub”
VIRTUALREALITYDELUXE - “Summertime Dream”
LITTLE MAC TONIGHT - “Limited Time Flavor”
REDCLOUD64 - “Fragments”
ZIMZARI - “Casa Nueva Drive”
DIS/SEG - “✈Ǝ “
AGNAR - “Steve Sobs X”
SHEEP - “Sheepbleats”
METAPRISE APPLICATIONS - “JUKAIZEN受改善”
UNKNOWN CALLER - “Inevitable Destruction of the World Mixtape”
こ̧̧̧こにプ̧̧̧ールがある WELCOME TO THE POOL '98 - “://www”
CHEMICAL HYPNOTIST - “Your Local Forecast”
V A P O R S O F T W O R K S 蒸気ソフト - “Palm Sky”
VCR-CLASSIQUE - “New Look 1989”
ECCODROID - “aquærium”
BULBASAUR ADDERALL - “HM11 (Reflections on the Best Years of Vaporwave— Past & Present)”
Our first two releases will be available for purchase on Friday, September 21st at our houdinimansions.bandcamp.com storefront! Stay tuned for more details.
House of Cake
House of Cake is a collaboration project with a wide range of participants that we have been premiering singles from on on the Magnetic Mystery Hour podcast. Ten tracks of audio insanity, all smashed and cut up into the odd theme of cake! Noise, ambient, vaporwave, jazz, hip hop, electronica, and many other genres jumble together in this mad, mad project for the ages!
Andrew Weathers/ Blaine Todd split
Houdini Mansions proudly presents Andrew Weathers and Blaine Todd, two prolific songwriters whose work collides in a pleasing audio artifact that presents a wide variety of sounds, textures, and moods.
Further details on these two releases, such as track listings, personnel, and pricing.
If you are a songwriter like me, sometimes writing lyrics can be the most frustrating part of songwriting. Either the words I am writing aren't exactly what I want, or the well runs dry, and I can't come up with any words at all. It's an age old challenge that afflicts nearly all artists and writers at some point in time.
Had I only known this whole time that now, with the power of the internets, I don't have to write my own lyrics anymore! I can just have this handy website write my lyrics for me. What a time saver! The question is: How well does it work? Let's find out!
There are several options available on the Song Lyrics Generator website, but the best one is the 'Line by Line' generator, as it gives more creative control than the others. The session begins by typing in an inspiration word that the generator will use to create the line choices, and a band name.
After a few simple selections, the songwriting session begins. Eight to ten lines pop up at a time, often matching previous lines with rhymes or subject matter. It's completely easy! No more late nights, scribbling notes and scratching my head and agonizing over every syllable of a lyric. The power of technology creates a stress-free songwriting experience.
So how did I do this time around? Have a look and judge for yourself!
A new day dawns for songwriters everywhere!
Try the Song Lyrics Generator out for yourself: