The Guyz' are paid a visit by the ghost of shamans' past during this sickening spirit dream of atmospheric wonk and loungey noise. Tone generator/feedback wrangler JB was out of action for close to a week after hot-boxing these infernal fumes, and string mangler EG swears he never played half the notes on this record. A spooky mix of lusty aimlessness and wrathful burn fit for adult contemporary radio in the first few circles of hell.
Get it here.
Two dudes take a giant piss into the abyss after a day of missed connections and endless fragmentation. First up, a womb re-entry primer of trancing pulses and embryonic drone with J.B. on guitar and E.G. on EQ knobs. Next, a fake jazz demolition hymn with E.G. on guitar and J.B. spinning skronk into gold. Guyz 1, Universe 0. To be continued …
Get it here.
Dec. 26-28 at the Elbow Room in Ypsilanti, Michigan.
See the full schedule here.
In preparation of the transcendent freedom jazz experience of live
Flatlands Collective, the Guyz order a pie and invite reclusive
synth-smasher Oscilabot over for a pre-game of hot mozzarella and
cold-war tension soundscaping. Liberation guitar marches, electronic
missile commands and mixing console standoffs ripple through this
live-to-tape-deck sizzler. Says one hard-to-impress collaborator on
the playback en route to the main event, "This is actually pretty
good."
Get it here.
Gates McFadden's fullest album to date has improviser/composer Joel Schrauben making a digi-romantic Glenn Branca of himself. But not via an army of guitarists; it's just Joel and a laptop - therein being dozens of delay loops and tones. You Can See Russia... is an exercise in infinite repetition; fitting in that the Palin remark appropriated is just one of a series of infinitely repeated talking points this season - repetition to the point of a loss of meaning. Fortunately for Gates McFadden, the loss of meaning here is not a descent into idiocy but one of recontextualization; where repeated tones and sounds layer upon one another building a veritable Tower of Digital Babel that comes crumbling down when Schrauben (as creator) sees fit. Schrauben achieves a unified, suspensefully ambient statement that gives credence to those who may assert that tension and resolution are overrated concepts.
Get it here.
In the heat of the summer, two men did not forget what heat and oppression are all about. Summer has come and gone, and the dutiful execution of heat mongering, sweltering summer death and 10,000% humidity by our two prophets of sweat stands as a testament to those months now lost. As you stand in the death-piles of raked leaves, counting the dismal days until you are buried in ice and snow, hold vigil with our heroes, Guyz Nyte, for the taste of the Mississippi Delta that comes to Michigan every year.
Get it here.
Okay and here's part 2. If SMFTGP's first solo release didn't significantly melt your bowels, Eric Gallippo made a second one to finish the job, just in case. The shrill vociferation of the apocalyptic harbinger is drowned in the gelatinous mire of brown note explosions. A joyous synthesis of dooms.
Get it here.
If he's not blowing your mind on guitar in either Man at Arms, Fields of Industry or A Paschal Circus; or doing any number of things in the Arts vs Entertainment Ensemble, Eric "Gallup Poll" Gallippo is probably literally going to make your brain explode into gory chunks all over your wood paneled room with his solo noise jams. Just a man, a mixer, and a stupid long string of effects pedals.
Get it here.
Cathartic Pipe's sophomore release. The boys are preaching the gospel of impending government-engendered doom and annihilation; a full fledged apocalypse of the bowels and neural network of every man, woman, boy and girl by compulsory consumption of atomic laxatives (of the brain). This is the end of all things, and the finale is hearkened by the bellow of a trombone, bowed electric bass, live electronic boxes with arms and legs, and a buzzsaw for a heart. This is the infernal vision of a single summer afternoon; school is out and the world is over.
Download it here.
Listen on last.fm
The latest from the AvE Ensemble sees the lineup and the sound coalesce around the core of Fields of Industry. Has a Keen Cultural Sense features selected recordings of what were essentially Fields of Industry experimental rehearsals meant to inform the band's live repertoire. But these and additional sessions have taken on lives of their own, to the extent that the band has lately been recording them for their own sake. The resulting improvisational pieces consist largely of manipulated guitars and function generators, live electronics, and live laptop performance with a tiny bit of acoustic instrumentation (e.g. penny whistle). The aesthetic of atmospheric and ambient noise of the first AvE self-titled release remains, but is supplemented here by an affinity for droning krautrock and a greater emphasis on electronics.
Download it here.
Listen on Last.fm
We played with no drummer on a Wednesday night in Ann Arbor, stuffed comfortably into Production Studio B of the defiantly obscure and vehemently varied WCBN, transmitting something much more somber than I think any of us expected. Eric tapped a floor tom with timpani mallets between guitar strums; Joel employed the function generators to fill some empty space. I like this set a lot.
Download it here
And check out other artists featured on WCBN's Local Music Show at the LMS podcast. Jason Voss hosts lots of really, really good stuff.
The Guyz' are paid a visit by the ghost of shamans' past during this sickening spirit dream of atmospheric wonk and loungey noise. Tone generator/feedback wrangler JB was out of action for close to a week after hot-boxing these infernal fumes, and string mangler EG swears he never played half the notes on this record. A spooky mix of lusty aimlessness and wrathful burn fit for adult contemporary radio in the first few circles of hell.
Two dudes take a giant piss into the abyss after a day of missed connections and endless fragmentation. First up, a womb re-entry primer of trancing pulses and embryonic drone with J.B. on guitar and E.G. on EQ knobs. Next, a fake jazz demolition hymn with E.G. on guitar and J.B. spinning skronk into gold. Guyz 1, Universe 0. To be continued …
In preparation of the transcendent freedom jazz experience of live
Gates McFadden's fullest album to date has improviser/composer Joel Schrauben making a digi-romantic Glenn Branca of himself. But not via an army of guitarists; it's just Joel and a laptop - therein being dozens of delay loops and tones. You Can See Russia... is an exercise in infinite repetition; fitting in that the Palin remark appropriated is just one of a series of infinitely repeated talking points this season - repetition to the point of a loss of meaning. Fortunately for Gates McFadden, the loss of meaning here is not a descent into idiocy but one of recontextualization; where repeated tones and sounds layer upon one another building a veritable Tower of Digital Babel that comes crumbling down when Schrauben (as creator) sees fit. Schrauben achieves a unified, suspensefully ambient statement that gives credence to those who may assert that tension and resolution are overrated concepts.
In the heat of the summer, two men did not forget what heat and oppression are all about. Summer has come and gone, and the dutiful execution of heat mongering, sweltering summer death and 10,000% humidity by our two prophets of sweat stands as a testament to those months now lost. As you stand in the death-piles of raked leaves, counting the dismal days until you are buried in ice and snow, hold vigil with our heroes, Guyz Nyte, for the taste of the Mississippi Delta that comes to Michigan every year.
Okay and here's part 2. If SMFTGP's first solo release didn't significantly melt your bowels, Eric Gallippo made a second one to finish the job, just in case. The shrill vociferation of the apocalyptic harbinger is drowned in the gelatinous mire of brown note explosions. A joyous synthesis of dooms.
If he's not blowing your mind on guitar in either Man at Arms, Fields of Industry or A Paschal Circus; or doing any number of things in the Arts vs Entertainment Ensemble, Eric "Gallup Poll" Gallippo is probably literally going to make your brain explode into gory chunks all over your wood paneled room with his solo noise jams. Just a man, a mixer, and a stupid long string of effects pedals.
Cathartic Pipe's sophomore release. The boys are preaching the gospel of impending government-engendered doom and annihilation; a full fledged apocalypse of the bowels and neural network of every man, woman, boy and girl by compulsory consumption of atomic laxatives (of the brain). This is the end of all things, and the finale is hearkened by the bellow of a trombone, bowed electric bass, live electronic boxes with arms and legs, and a buzzsaw for a heart. This is the infernal vision of a single summer afternoon; school is out and the world is over.
The latest from the AvE Ensemble sees the lineup and the sound coalesce around the core of Fields of Industry. Has a Keen Cultural Sense features selected recordings of what were essentially Fields of Industry experimental rehearsals meant to inform the band's live repertoire. But these and additional sessions have taken on lives of their own, to the extent that the band has lately been recording them for their own sake. The resulting improvisational pieces consist largely of manipulated guitars and function generators, live electronics, and live laptop performance with a tiny bit of acoustic instrumentation (e.g. penny whistle). The aesthetic of atmospheric and ambient noise of the first AvE self-titled release remains, but is supplemented here by an affinity for droning krautrock and a greater emphasis on electronics.
