bee mask

Showing 1–10 of 11 results

  • bee mask – from a will-less gigolo of a divinity to the gore-spattered lion on his own hearth, odysseus becomes odysseus

    out of stock

    Properly, “Preconscious Makaveli, Volume 1.” But before I venture any further, allow me to clear this up: I’m making nothing in the way of an implicit argument that Julian Jaynes is in the same kettle of fish as…really, where could I even be headed with this sentence?

    Enclosed, please find sick undulation of the gossamer tape measure/verbed-out, unexpectedly wooly nighttime cloudsit plus obese quasi-prog extrusion into unrealizable pastel aviary, old-fashioned radio telescope filter rust, hovering garden, disintegrating cliffs, et al, and ascent to who the fuck knows where, complete with maybe three or four marauding entities and a nagging suspicion that DMT hyperspace is actually the trunk of someone’s car – not that it matters for practical purposes or anything…”where we’re going we don’t need etc etc.” Tranquility Base burble systems and odd concluding neolithic ritual postscript, the lot of it contemporaneous with and not unrelated to the angle worked on tour with Harpoon Pole Vault a few months back and essentially from the same cobwebbed/cheesecloth’d headspace as Canzoni dal Laboratorio del Silenzio Cosmico.

  • bee mask – docked orbs – mistake by the lake

    out of stock


    2 cassette
    mistake by the lake 003
    Recorded February – July 2007.

    Limited edition of 50 copies.
    Tapes come packaged in a 5×7 inch snapcase.
    Comes with an insert.

  • bee mask – prelude and first enormous peacock – everyone else has a record label so why can’t i

    out of stock

    3″ “biz card” cdr
    Long sold out; warehouse find of brand new stock.

  • bee mask – when we were eating unripe pears – spectrum spools

    $17.00 Add to cart

    That old saw about dancing and architecture notwithstanding, I am like most people who make records in that I do not especially relish the task of writing about them. (Better to focus on putting one’s pants on both legs at a time and using one’s Sèvres china every day, if you ask me.) That’s not to say that writing about records is a worthless or futile undertaking — far from it; however, as artists ideate in their media of choice, they implicitly challenge the assumption that the written word is the privileged medium of ideation — or at least they do so to the extent that their work succeeds. This truism aside, I seem to have drawn the proverbial short straw, and so it falls to me to tell you something useful about When We Were Eating Unripe Pears, a record which I recently completed, and which will be released shortly (perhaps by the time you read this, even) by Spectrum Spools.

    The seven pieces on this LP were developed over a period of about five years; Rain in Coffee is built on a Hyperborean Trenchtown-era demo, while Pinq Drinq — sorrel, for the record, and neither guava nor antacid as certain wags have already ventured — was reanimated directly from the cutting room floor, eleventh hour twenty-twelve. As a whole, they should probably be considered the proper “sequel” to Canzoni dal Laboratorio del Silenzio Cosmico, extending that record’s preoccupation with the dream interiors of post-1965 Fellini and synthesizing (pun very much NOT intended) it with Elegy for Beach Friday’s fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on Vaporware/Scanops.

    However, in direct contrast to each of those prior works, When We Were Eating Unripe Pears draws more deeply on formal ideas from the history of records than any Bee Mask release to date. Toward this end, most of its constituent tracks were hammered into their finished shapes “on the road” throughout 2011 and 2012. Those of you who heard me on tour in the United States, Canada, Australia, and Japan, and particularly at Voice of the Valley, the Bunker, and Labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar.

    When We Were Eating Unripe Pears was recorded in Cleveland and Philadelphia between 2007-2012. It was edited and mixed at Tranquility Base in Summer 2012, mastered and cut by Rashad Becker at Dubplates and Mastering, and pressed by Pallas Group. The first 300 copies are on translucent green vinyl. Mark Price did the photography and layout. Special thanks are also owed to Jason Anderson, Katherine Brady, Matt Carlson, John Elliott, Lawrence English, Daniel Lopatin, and Alex Moskos, without whose perspectives this would be a very different and much lesser beast.

    Chris Madak, Philadelphia, October 2012

  • bee mask – elegy for beach friday – spectrum spools

    out of stock

    used lp, black vinyl. jacket and vinyls very clean

    Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alter ego. Now, for the first time, there seems to be light at the end of the tunnel — a chance for old plans to come to fruition and for new ideas to blossom into the unknown. Elegy For Beach Friday is a personal selection of highlights from a slew of limited cassette and CD-R editions recorded between 2003 and 2010, re-imagined, re-edited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted. The original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this double LP retrospective of Chris’ favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. Here, the full range of Bee Mask’s sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension-bending, bridging the worlds of Nikola Tesla and La Monte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days. Synthesizers, percussion, piano, guitar, tape, electronics, and max/MSP recorded 2003-2010 in Northampton, MA, New York, NY, Cleveland, OH, and Philadelphia, PA. Edited and mixed at Tranquility Base, February 2011. Cut at Dubplates & Mastering, May 2011. Housed in a deluxe, full-color gatefold sleeve with spot-varnished lettering.
    -spectrum spools

  • dozzy donato plays bee mask – spectrum spools

    $27.00 Add to cart

    Double LP version. In hindsight, the pairing of Chris Madak and Donato Dozzy was inevitable from the moment when the two connected on Mount Naeba, Japan at the storied Labyrinth party last fall. Both artists have worked to craft singular visions unlike anything else happening in electronic music today, yet despite each producer’s unmistakable individuality, there is a deeper reservoir of shared sensibility between them which makes Donato Dozzy Plays Bee Mask feel like a logical and necessary event. 2012 saw the release of Madak’s monumental When We Were Eating Unripe Pears (SP 023LP) album along with the astounding Vaporware 12″ for Room 40, the title-track of which opened Bee Mask’s Labyrinth performance to memorable effect. Dozzy had an equally massive year thanks the release of the acclaimed Voices from the Lake (PRG 001CD/003LP) album with Neel, which set the bar for intricate, subtle, and forward-thinking contemporary techno at a new high. Both artists have pushed the respective boundaries of their work to arrive at the point of this crucial and welcome overlap: a double album of material from the Vaporware sessions, re-imagined as only Dozzy could do it. Initially commissioned for a single remix, Dozzy found so much possibility in the source material that he turned in over an hour of material, making a standalone release the only reasonable course of action. The results are absolutely divine, a suite of seven pieces of time-stopping bliss in which the structure and melodies of Vaporware glitter through the prism of Dozzy’s singular production style. The meeting of these powerful minds provides evidence of an unparalleled organic chemistry. When listening to these works we hear the worlds of Bee Mask and Donato Dozzy bleed into one another, creating a new sonic entity with a life of its own — one which with any luck will not end at this release. Mastered and cut at Dubplates & Mastering, Berlin, May 2013.

  • bee mask – vaporware/scanops – room40

    out of stock

    Bee Mask is a project from Chris Madak, a native of Cleveland, Ohio now residing in Philadelphia, and a vehicle for an intricate and deeply warped sensibility which remains coherent without being beholden to specific techniques or materials, drawing equally on the ecstatic human/machine couplings of 1970s West Coast synthesis, the fractured gloss of sampler concrète, the iridescent thumbprint of high minimalism on the IQ-decimating throb of trunk bass, and the barely-sublimated currents of vertigo and terror that course beneath the most unsettling moments in the canon of home-recorded psychedelia. Editions of his recent work are available on Spectrum Spools and Room40. His new edition for Room40, Vaporware/Scanops charts a new and at times unfamiliar musical universe, a galaxy of complex patterns in constant states of evolving and dissolving. These are pieces that unfold with an unerring organic sensibility that belies the sound-sources used. Like much of Bee Mask’s output to date, this is a world of controlled voltage and sequenced chaos. But there is a twist in the form of the unexpected and utterly welcome addition of voice. Over the two long-form pieces, Bee Mask reveals a juxtaposition of deeply electronic materials with a swelling cascade of vocal loops recorded by Autre Ne Veut and Katherine Brady. The resulting sound is quite unlike anything we’ve heard from Bee Mask before. Cut at Dubplates & Mastering, Berlin. Limited vinyl edition of 500 copies housed in a gorgeous matte celloglazed sleeve.