crash symbols

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  • pedro magina – 11 – crash symbols

    $14.00 Add to cart

    Pedro Magina is a Barcelona based synth player originally from Portugal, where he was active in several projects, eventually forming Aquaparque with friend and collaborator André Abel — Abel was active throughout the early 2000s and his other duo, Tropa Macaca, had their last outing via Software Recordings in 2012. Magina’s solo music is far-sighted, tending toward abstract soundscapes and adventurous digression. This work felt very at home on labels like Not Not Fun, Ruralfaune, and Mental Groove. His new album, ’11,’ has a different focus and a little more heft thanks to its origins, recorded while his family moved from Lisbon to Barcelona and he shared a rehearsal space with Tropa Macaca, Gala Drop, and Panda Bear.

    ’11’ is Magina’s fourth solo album and his first to make heavier use of vocals, following on several years of exclusively instrumental excursions; experimental synth work with a New Age tinge. If you drop into the album at random, you’ll hear an understated synth-pop album with a distinctly Portuguese, even Iberian, flavor — but there’s a sweep and shared focus to these tracks that sounds wholly new. ’11’ is about involvement, though the tilt in that direction may contrast with older releases that were exciting for their imaginative sense of detachment. For Magina, the scale here is a reflection of his status as a young father, in between realities, and as an artist with choices.

    The same sense of whimsy and diverse production that animates his older releases still draws the listener in, but there’s no simple roving between topics, and few straight lines between up and down. For much of ’11,’ emotions hang on the voice; “Hold My Hand Now” is confident and breezy until Pedro’s voice draws it upward into one of the album’s most memorable crescendos, while a distressed vocal sample and somber keys in “Ponta Do Sol” make the track feel almost scary, or at least discomfiting. Others balance the new vocal element against Pedro’s keys, like “Valentina” or “On Our Way Back Home,” where synth and voice share a trajectory.


  • fishers – under the sheepherder bridge – crash symbols

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    Fishers is the solo-project of New York based writer and musician Dale Eisinger, one of the principals at GODMODE and usually the drumming half of the duo responsible for YVETTE. His debut under the new name, ‘Under the Sheepherder Bridge,’ is a far softer touch; less harsh than his recordings as Horselover Fats or YVETTE, and more directly evocative thanks to a varied tonality and emotional palette. Inspired by noise and minimalism, but tied to a deeper structural order, these new tracks chart the creative and terrestrial peregrinations of a deeply talented artist… Eisinger’s voice can be arresting when it rises out of the dark tectonics he conjures, embedded in a particularly organic range of ‘inhuman’ noise, brushing, and the heavier invocations of enterprise. That force is as clear in the cold lines of recitation and elsewhere when the warmer licks of a distant troubadour song still manage to set themselves off against cold mechanics… the resulting album in its entirety is an experiment in “folk” perhaps, but for those with very different manners.


  • ernest gibson – pastoral IV – crash symbols

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    Though self-trained LA multi-instrumentalist Ernest Gibson is probably best known for darker outings thanks to his debut solo LP ‘Island Records’ (Skrot Up) and recordings as one half of Net Shaker (Kill Shaman, Sleeping Giant Glossolalia), ‘Pastoral IV’ sees him experimenting with the chemistry of atmosphere, and from a particularly unfamiliar vantage: behind the keyboard. Twenty tracks of immersive thought experiment form an adaptable companion to contemplation, one that constantly remakes itself in the light of new imagery. ‘Pastoral IV’ is a deep but shifting enterprise and the best indication to date of Gibson’s true range.


  • aphasiacs – debtor’s paradise – crash symbols

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    Thibaud thumbnail Weird Ear Records thumbnail Justin Rogers thumbnail Ty
    Taking their name from a spectrum of language disorders caused by brain damage, Aphasiacs is Bill Corrigan and Nick George of Detroit. Together they conjure refracted lo-fi house from scavenged piles of broken equipment, making layers of shambolic, textured color that spasm and move through a syrup-soaked kaleidoscope. Each of their tracks is a unique progression, so violently self-determining that shifting bass and beats become the only common thread to follow through the (very welcome) barrage of more and newer sounds. ‘Debtor’s Paradise’ is rounded out by a b-side trio of alternative edits courtesy of Rawaat, A Sacred Cloud, and Coyote Clean Up.

    “Consider this canon.” -Tome to the Weather Machine


  • cambo – patronage & pork – crash symbols

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    ‘Patronage & Pork’ is the latest from New York based producer Cam Curran, aka Cambo. Arriving roughly a year and a half after his warped cassette debut for Further Records – where you’ll also spot the debut for his Fossil project with SUS collaborator Phil Tortoroli, aka James Place – Cambo offers gritty but urbane electronica full of thumping bass and hypnotic beats across his lengthiest release to date.

    Recorded in the guts of a pre-war brownstone while bouncing between jobs, ‘Patronage & Pork’ is looser and more experimental than the music Curran and Tortoroli release on SUS, but it shares in the kith’s characteristic minimalism. If you’re familiar with the Tortoroli’s James Place recordings though, Cambo should seem like an even more colorful contrast. When ‘Patronage & Pork’ isn’t burning up slowly in restrained psychedelia, it squiggles confidently through heady acid techno with a peppering of more distinctly urban grit thrown in to keep your teeth on edge. Though these tracks are primarily personal experiments, as a collection of songs they contemplate the potentially corrosive forces that gather at the heart of civilization.

    “This tape is on point. Samples of self-help gurus, rapped interludes, squealing, squashed synthesizers, peaks and valleys of loud-soft dynamics, martial lock-step of a beat pitch-shifted beyond the point where it could look in the mirror and recognize itself.” -Tome to the Weather Machine

    “Patronage & Pork finds Curran relying more on fresh beats and devious hooks and less on cerebellum-shattering noise freak-outs than he has previously. The noisy bass of ‘Better Husbandry’ is tamed by the track’s minimal rhythm, and the fried synths found on ‘Self-Help’ are laid to rest by a dubbed-out groove. ‘Typhoid Mary’ is club music for noise fanatics, while ‘Gunmetal’ is experimental hip-hop. Those who have been missing out on Cambo’s explosive productions (along with the entire Styles Upon Styles catalogue) are certainly doing themselves no favours; Curran is a force to be reckoned with, a leader in the production of adventurous electronic sounds.” -Exclaim