not not fun

Showing 11–20 of 45 results

  • severed+said – occlusions – not not fun

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    Jacksonville, Floridian John Touchton’s second release of ritualistic synthesizer music, Occlusions, is less soundtrack-ish than his last and hugely more sunken. The decision to blast his hardware through a trio of vintage amps before capturing it on the Tascam gives this set of songs a more physical aspect, thick throbs over signal buzz and low corridors of drum machinery. The pieces swerve from mechanical raga (“Black Shine Bright”) to tranced nightrides (“Death By Empire”) to Heathen Earth bass trenches (“Occluded”), but they share a processional heaviness and humid pulse. Six electronic stalker themes from under the shadow of dawn, the glow of gear the only light. Recorded in a warehouse in “the dark corners of Florida” in October, 2014 by Jeremiah Johnson; all instruments by John Touchton. Purple-imprinted silver metallic tapes in double-sided cathode-warp J-cards with images by Phantomphoton; layout and photography by Rebecca Rose. Edition of 100.

  • cankun – only the sun is full of gold – not not fun

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    Vincent Caylet’s state of mind as Cankun has always been sunburnt and woozy but, despite its title, Only The Sun Is Full Of Gold is his first to stray intriguingly into the shade. “I wanted to explore the melancholic aspect of my music, the wild side.” This motive comes through in longer, looser sections, more lurking melodies, and moments of heavier mood, communed through his ongoing language of snake-charmer guitar, heatstroked keyboards, and tribal dub electronics. As always his songs divide and diverge in unexpected moments, collaged from scattered burnzones of improvisation, until endings and beginnings become reversible. Among current French psychedelicists, Cankun’s home-rigged solar panels cast weird reflections, a warped, patient radiance. Long may it gleam. Mastered by Alex Nagle. Artwork as always by Valerian Marguery. Vinyl version on Hands In The Dark. NNF cassette edition includes a different track sequence, as well a bonus song, “Trezz.” Edition of 100.

  • delicate features – the passenger – not not fun

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    “…our music goes to ambient, and sometimes atmosphere, of disturbance and worry, sometimes meditation. But it doesn’t lie.” So sayeth singer/soothsayer of Saint-Petersburg haunted romance duo Delicate Features, Radmila Nikogosian. We’re of the mind to concur. Nikogosian and bandmate/beau Pavel Diakov-Astvatsaturian have been lurking in the off-grid steppes for roughly two years, scotch-taping microphones to fragile percussive objects and folk flutes amidst glowing grey electric swells of depressive sensuality. The Passenger blurs morose misty synth-jazz with windswept new age memory pop into a love-blind stalk along an ice-scarred river – an experience befitting “two misanthropic dreamers who just like to listen to beautiful music.” The original intention apparently skewed more in a dancewardly direction but their downcast northern locale gravitated the mood into displaced, pensive nocturnal rhythms, often ditching drum forms entirely, like in the keening, cracked classical drift of “Orphan Song” or “Whispering Wind.” The sequencing spills out a story of devotion and dissolve, tracking the whole heavy soul waveform – poetic faith (“Birds Near River”), Sunday morning (“Opal”), body rapture (“Kiss By The Sea”), escape/evolution (“Transparent Shadows”), etc. 10 twilit and tactile songs for staring through stained glass to. Mastered by Alex Nagle. Artwork by Britt Brown. Edition of 100.

  • regional curse – s/t – not not fun

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    Regional Curse is the scarred, spectral incarnation of Melbourne-by-way-of-Adelaide musician Stacey Wilson aka Rites Wild. Her instrumentation remains similar – cyclical keyboard figures, downward tracing synths, skeletal drum machinery – but the execution follows a more disembodied, ceremonial logic. Her latest collection of uneasy electronics murmurs and seethes like threatening shadows silhouetted through the blinds. Low-lit drones stalk their waveforms, unraveling into pulsing, blank dubs for unknown presences. Like all of Wilson’s work, the album’s five pieces move with an alluring narcolepsy, focused but foggy, drained but sentient, a spirit stranded in some serpentine purgatory of space and time. Recorded at Miracle Cure, Fairfield, Australia. Mastered by Lawrence English at 158. Red-tint tapes in collaged J-cards by the artist. Edition of 100.

  • i im eye my – 7 transmissions – not not fun

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    Formed by Philadelphian shred savants Al Creedon and Sean Hamilton as an outlet for their less headbangist musings, the bafflingly monikered (but fun to say) I IM EYE MY pour a lot of hot potions into their scavenger’s cauldron: horizon-line Casio pop, boiled vine psychedelia, kalimba krautrock, stone temple psychosis, dirt road dream sequences, etc. Partially assembled during a session at Kensington’s premier recordist lair Fancy Time Studios, the duo further architected the songs with layers of Farfisa, hand percussion, cheap keyboards, Youtube samples, piano, prepared guitar, feedback, midi miscellany, and more. The rich blitzkrieg of toys, tools, and tricks works; 7 Transmissions is a stirring and striking listen, meshing modes and moods and fidelities into frenzied fusions as unclassifiable as their name. Eccentric electronic exotica for a planet drunk on dreams of devolution. More persuasive proof of the potency of instinctive collaborations. Striated-shadow collage cover artwork by Lisa Armstrong; layout by Chris Kalis. Mastered by Tom Asselin. Edition of 100.

  • doll food – marrow deep – not not fun

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    Doll Food first emerged as a solo vehicle for Bri LaPelusa’s bleached experiments in extended vocal improvisation layered with samples sourced from hypnosis videos and weight loss tapes, but the addition of multi-instrumentalist (and romantic foil) Brandon Volz roughly one year ago enriched the project’s opaque, vaporous psychedelia with an extra dimension of enigmatic dread. Marrow Deep collects the Iowa City duo’s six strangest slices of stained glass tone decay to date, basement choir loops unspooling under amber waves of gain and delay. In places LaPelusa’s witchy, wordless voice tapestries evoke the cryptic basement weirdness of Inca Ore or early U.S. Girls, cracked American diviners singing through the psychic sludge of disappearing dreams. An inspired suite of haunted heartlandia, uniquely creeped and fully improvised (and, incidentally, recorded on Cuticle’s 1/4 inch reel-to-reel machine following his recent relocation to Germany). That the group often performs in drag, dressed all in black, further feeds their murky mythos: “I Was Hungry And It Was Your World.” Cut to the Marrow. Full-color double-sided J-cards designed by LaPelusa. Edition of 100.

  • flat fix – an unkempt house – not not fun

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    The transformation from trashed noise to tranced programming irks some technocrats but the truth is such shifts only highlight the kinship between these parallel modes of longform electrical activity; hypnosis and confusion can be achieved with or without drum machines. Newcastle transplants Nick Senger and Cooper Bowman both share storied pasts in improvisational amplifier damage as performers (Castings/Cistern Corrupt and Dry Mouth/Junk Sick, respectively) and label heads (Spanish Magic and Altered States Tapes), but recent efforts have focused on Flat Fix, their heavily dazed hardware duo. The pair oscillate between roles and equipment intuitively, allowing the pieces to accrue and unfurl across fried expanses of psychedelic repetition. Recorded straight to two-track tape at their home studio in Melbourne, An Unkempt House collects three recent worm-hole constructs for a half-hour factory tour through weirdly wired mazes of flatliner pulsing and melting signal dreams. Leave the club; enter the Unkempt House. Mastered by Australia’s Prime Minister of Musicological Exports, Mikey Young. Double-sided silkscreened vellum artwork by Tokyo’s Crooked Taper Ryo Kuramoto. Edition of 100.

  • skeppet – phase 3 – not not fun

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    Though active for roughly half a decade, instrumental Scandinavian hypno-kosmische duo Skeppet (Swedish for ‘vessel’ or ‘ship’) have only released two tapes, one 7″, and one split LP, all on local labels in Sweden. Even so, their mantric ceremonial psychedelia hooked us immediately, delivering on the title of a 2010 compilation curated by core members Andreas Malm and Henrik Wallin for their own Kosmisk Väg imprint: The New Wave Of Swedish Cosmic Music. For Phase 3, the group’s first full-length, they drafted Upper Layer Cruiser Martin Nilsson in to play additional percussion, infusing a texture of mind-washed congas within their futurist Popul Vuh ascension voyages and gracefully opiated raga-rock. The album mimics the journey of a deep-orbiting craft, first spiraling deep into the ether, eclipsed and endless (the 20-minute wormhole “Den Nya Kusten” aka ‘the new coast’), before arcing back towards the solar wind, increasingly sunbathed and radiant (“Solskeppet” fittingly kicks off the B side: ‘sun-ship’). A refined exploration of transportive aerodynamics and escape pod jamming by a sub-radar squadron who’ve paid their dues in the engine room. Recorded in waves across three years, partially at Skeppet’s home studio in Malmo and the rest at TonGeneration Studio with Björn Stegmann. Mastered by Eric Hanson. Block-stamped graphic artwork and layout by Henrik Wallin. Edition of 333.