Two Long tracks with most abstracted songs yet in prep for a completely unnerving and tense live set at the Garden Bowl late dec at the close 2013. Color cover edition of 40.
Showing 51–60 of 63 results
Horn, crap junk and electronics forming a canvas of broken bones and barbed wire. Wait until the creeping drone gets louder, to become increasingly distorted until swallowed up into the rising fires of the magical ritual
“Charmed Birds Against Sorcery” is the third studio album by New
England-based musician Erik Carlson, and constitutes a startling
development in his sound. The first Area C record, 2006’s “Traffics
+ Discoveries,” was a small marvel of whirring loops sourced primarily
from processed guitars. Last year’s “Haunt,” Carlson’s second record
for Last Visible Dog, was a different affair entirely, investigating the
provocative drone capabilites of farfisa organs. The compositions which
constitute “Charmed Birds…” develop and, often, transcend the motifs
found on these prior albums, with Carlson revealing an astonishingly
refined and singular approach to guitar-based composition.
Soundwise, the album recalls more the crystalline, kaleidoscopic webworks
of the first Area C record than the ragged organ workouts of “Haunt.”
Glacial harmonics drift in and out of each channel, skittering, modulated
notes pulse and surge, sputtering suddenly to luminescent manifestation
before disappearing just as quickly. Many of the compositions here are in
fact more remniscient of the ambient side of Wolfgang Voigt’s work
in Gas, or perhaps the less beat driven aspects of “94 Diskont”-era Oval
than what we’ve come to expect from what is ostensibly a ‘guitar and
electronics’ based project. An almost kraut-like rhythm subtends the
topography of “Composition Journal,” the album’s stunning opener, its
low throb punctuated by brittle shocks from deconstructed drum
machines over which Carlson weaves a spiralling lattice of bowed and
picked notes. Later, on “Sleeping Birds,” we’re presented with a lulling
idyll concocted by way of flute-like tones and languid note clusters, a
shorter piece which dissolves seemlessly into modulating static at the
onset of the pointillist microcosm that is “Spell of Resistance.” The title
track is without question the album’s apex and constitutes a formal peak
in Carlson’s discography, as brilliant, bright guitar lines tread effortlessly
in a sea of tranquil pulses and disembodied percussive elements.
It should come as no surprise that, by day, Carlson works in the field of
architecture. For with “Charmed Birds…” he has constructed an edifice
of stunning complexity, originality and beauty.
Rafi dug up some copies of this older aswara title.
pretty zoned out release. mellow yet far out. comforting but unfamiliar.
Seeing aswara live has been one of the pleasures of living in asheville.
“vibrational string theory in an inner cosmos. hand stamped and embossed art paper covers with hand lettered text. numbered ed. of 160. sort of a companion piece to the above record, its a deep spin” -Azriel.
Andrew (aka Ironing) has been gathering together cell phone field recordings since January. These continue in the steps of “Suede ” and “Condensation” but perhaps even more sparse, documentation of every day in between moments.
edition of 30
Time sensitive material that needed to see the light before the upcoming equinox. These are worked over palimpsests of power and wandering. Dive in and swim around – ever watchful for sudden visitors. Presented in a numbered edition of 45 hand stamped 5″ cdrs (red is the color of summer – the sun is coming
A3 double sided foldout hand numbered photographic pamphlet and dictaphone tape recordings.
This new article from Daphine and Lyndsey mediates the grace and simplicity of the ocean scape with the questions and expectations we go in search for before we even approach the faint scent of the sea air. We invest the natural environment with our hopes and resolutions, and nature accommodates us in its immensity and voicelessness.
Daphine and Lyndsey return from the morning with a little piece of captured infinity in the hope that this space will infiltrate our spaces and that in this expanse we may find some small detail of sanctuary and new ideas.
Recorded and photographed on a combination of tape and digital Dictaphones and cameras, edited, copied and printed in one three day period between 4th and 7th June, and made available four days later on the 8th June in limited hand numbered, hand written copies.
An effortless conception in Lo-Fidelity Xerox Zen
Alivia Zivich on bass, Nate Young on organ. Raw! Recorded April 2010, previously only available during our Rotterdam residency.