warm gospel

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  • underwater escape from the black hole – at least, be human – warm gospel

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    Underwater Escape from the Black Hole’s Mathias Timmerman releases his music primarily through his own label, 5CM Recordings. The label is also based here in Des Moines and does a lot of releases along that line of experimental electronics. I have, of course, been wanting to work with Mathias since I first saw him play at our annual Iowa noise festival, Zeitgeist.

    A few months ago, Mathias sent me what became this tape, “At Least, Be Human”. I was thrilled. Running a music label that adheres to a somewhat specific sound/genre aesthetic, options for releases can occasionally be a bit scarce. It’s rare to find someone else in your music community working so closely in the realm of music as yourself.

    Underwater Escape from the Black Hole employs a foreground of repurposed samples from music past over massive walls of synthetic distortion and guitar squeals. Buried drum machines root the music which breathes and grows like a balloon expanding toward bursting. It’s a tense, slow build, touched only briefly with hints of sunlight through all of the clouds of ambience.

  • skyscraper – drums & hums (d&h) – warm gospel

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    Drums and Hums. The idea started out as a mixtape I was going to make for a friend. The A side was going to be filled with examples of songs with big-sounding drums from the early 60s, and the B side was going to be a bunch of religious music.

    But as it goes when you run your record player through a sampler, I was given the option to repurpose these old songs into a kind of transforming collage. The loops, samples, and sounds roll and fold in on each other like low-hanging fog disturbed by passing cars and pedestrians.

    The result is a release where the concept of the “song” gives way to a much larger piece of music resembling a soundtrack for the inevitability of time, where one can hear the slow decay of old sounds which continue to unravel and reveal new meaning to the listener through the ease of repetition.

  • dj dj tanner – waitress – warm gospel

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    There is a waitress that I work with whose very nature adds highlights and lowlights to her otherwise mundane life. She’s energetic, friendly, and a bit loopy. She always makes sure to greet me when I arrive to work a few minutes late with a genuine smile, as if it were her solely her duty to bring a little bit of excitement to the dullness of my job as a bartender.

    Her heightened emotions also create for her deeper valleys in which to descend. This makes her bad days into trainwrecks. She loses her innocence on these days, talking about sex and illicit drugs and complaining about customers every time she comes to the bar to pick up a drink for a table.

    I see this dichotomy day after day working with her. The repetition of it has become a comfort to me.

  • olsen twinns – found things – warm gospel

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    “Unfortunately, Mickey Davis (who is Olsen Twinns) was recently asked politely by lawyer types to quit using the name Olsen Twinns, and has transmogrophied into a new moniker, Is Home Is.

    Found Things is a collection of music that is largely ambient, but also wouldn’t be out of place on the dance floor, especially if you cranked it up loud. And right when it may be heading towards Eno territory, it suddenly burbles up with a melody or intertwining sample and synth harmonies that show this music has foundations in songcraft.”

    -Bryon Dudley, All Iowa Noise Insurgency Issue 1

  • eolian mollisol – enchanted museum – warm gospel

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    Running Warm Gospel, I’ve always loved the way new musicians within only a few miles of me will emerge from the woodwork. It’s a testament to the accessibility of electronic music to the individual. The fact that prolific electronic musicians can exist all around us without anything more than an unadvertised Bandcamp page filled with albums also speaks to the personal and private nature of this kind of music.

    You can hear it in “Enchanted Museum”, the first tape release for Ames, IA project eolian mollisol. The songs move through minimal electronics and signal manipulation into blown-out lo-fi lullabies. The songs all contain a sense of emptiness. Space. A kind of creation without intention or urgency. After all, “Enchanted Museum” was recorded in 2007 and is only now seeing the light of day through the curtains in the bedroom window.