winter seclusion from frozen fields. absolutely flawless and well-paced synth / guitar work — bursting through thick clouds and shining bright, but always near the darkness. somewhere, something is wrong; somewhere else, Dreams are Coming True. edition of 125, full color covers and glossy labels.
Showing 11–17 of 17 results
“Los Angeles’ hardest working man. What may appear to be all bright light soon gets covered by dark clouds. Greenspon combines elements of ambient music, drone, collage and harsh noise, all condensed into song form. Six tracks of delicate compositions for guitar, keyboard, and tapes.”
raw, harsh grits, beyond the trite wall followers; a
distinctive sound amongst blatant, heartless poseurs.
burrowing electronics, feedback, and junk metal abuse
for drinking binges into unconsciousness, plus the
morning after. edition of 100, full color covers and
Before ‘wall noise’ simplified creative development for a generation of noiseheads, there were the mid-90’s — arguably the most influential period for many. Without narrowing sub-genre tags, artists created work with substance, heart and soul — work that was at once monotonous, yet dynamic; dirty and lo-fi, yet clear; primitive, yet detailed — physical. The spirit of that era is the main influence for Droughter here; using only crude electronics and tape loops, Kevin McEleney looks back, yet doesn’t get trapped in a time capsule.
Beginning with Aemae and now working under his own name, Brandon Nickell has spent the last decade taking cues from nearly all generations of analog and digital sound development and shaping them into a unique, fully realized vocabulary all his own. The compositions here are fluid, all captured with impeccable clarity; bell-tones and intricate layers of overlapping digital and analog synthesis intertwine within the stereo field. Remarkable material by an artist to watch this year.
Long awaited debut solo recordings from Shannon A. Kennedy (Pedestrian Deposit). Narrative compositions for zither, homemade string instruments and other surprises that evoke the spirits of surrealism, dark experimental music, and traditional asian instruments. Two pieces from 2009 and 2012; recommended listening under low light, a full moon, or in the woods.