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Tabs Out | DJ Balli and Giacomo Balla – Svelto

DJ Balli and Giacomo Balla – Svelto
12.13.17 by Ryan Masteller

DJ Balli

Is this for me? I mean, sure, I’m an absolute master at stacking a dishwasher with Tetris-like precision. Any unmaximized space is certain to cause the vein in my temple to throb uncontrollably as I try to suppress the rage triggered by a misplaced bowl or coffee cup. (My wife, god love her, would just roll her eyes at my internal meltdown.) “Svelto,” by DJ Balli and Giacomo Balla (the collaboration is “telepathic” between Balli and “the famous futurist”), is one of two recent releases by ArteTetra (the label based in Potenza Picena, Italy) in collaboration with Islandsexp that focuses on creating a “pleasing acoustic experience … for … more productive and functional house-working.” “Svelto,” which translates to “brisk” in English, focuses on dishwashing, as does the other initial tape in this run, Shit and Shine’s MUSICA LAVAPIATTI (which I wrote about somewhere else, recycling a conceit in the process).

So is this for me? Being an all-star dishwasher stacker doesn’t mean I’m also an all-star dish scrubber, but maybe that’s the point – maybe “Svelto” exists to draw out the hidden skills I don’t necessarily know I have, in the process reducing the unrelenting stress of poor dishwasher space management weighing on me like I was hauling a lead backpack around the kitchen. Yeah, “Svelto” is nimble, and its speed and energy are absolutely intoxicating and contagious. It makes me feel like I’ve just entered the Trance state in FINAL FANTASY IX or something. I look at the dishwasher in disdain, and, with the pulsing gabber electronics blaring on my stereo, I tackle the mound of dishes in the sink with just a scrub brush and my intuition. In a blur, both hands and water fly, and I become the machine. Only when I finish do I realize that the mound of dirty dishes has now become a mound of broken crockery, but I do not feel defeated. I’m still high from the adrenaline shot through my bloodstream by DJ Balli.

FYI: “Dishwasher cycle #1: Gabber Pyramid” utilizes the tune my dryer makes when it’s done, so I can only assume a Samsung dishwasher does the same thing… It freaked me out for a second when I first heard it, like some MORTAL KOMBAT portal had opened up in my laundry room or whatever.

Grab a tape from ArteTetra or Lowe’s or Home Depot or your local appliance retailer. No, wait, just from ArteTetra.

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Tabs Out | Top 200 Tapes Of 2017

Top 200 Tapes Of 2017
12.11.17 by Tabs Out Crew

TOP200

Okie dokie, It’s time for everyone’s favorite Top 200 Tapes of 2017 list: The OFFICIAL Tabs Out Top 200 Tapes of 2017 list! For the 5th year in a row we’ve tallied up the thousand plus cassettes that have made it over to us and arranged our fav two hundo in perfect order, each assigned a big masonic number. Our methods are scientifically proven and obtainable through a FOIA request, but just trust us. Like previous years we only included tapes that we had physical copies of. Enjoy!

 

 #1: Rob Mazurek – Chimeric Stoned Horn (Astral Spirits)

Rob Mazurek apparently isn’t one to burst through the batwing doors of the saloon and announce to the clientele his arrival or his intentions. Nobody lifts their eyes from their poker hand or their whiskey, nobody stops playing the piano in shock, nobody moves a well-trained hand just slightly closer to their concealed six-shooter. No, Mazurek doesn’t need the element of surprise – he’s one of those confident types, content to precede himself with his own accompaniment, allowing the sound of his passing to serve as his only herald. The clip-clop of his horse’s hooves along the avenue simply adds to the scene he sets. (Just kidding, there’s no horse – I’m just beating this, ahem, dead metaphor further to death.) [read more]

 #2: Kill Alters – No Self Helps (Hausu Mountain)
 #3: Gateway – Integral Formation (Castle Bravo)

To start things off, “Integral Formation,” a C40 from Gateway, is a offering of Doberman member JF (on synth, strings and springs) with horn accompaniment by TG (also of Doberman). It’s a menacing listen, with waves of horn providing an undeserved comfort, crucially baying out through open stained-glass windows, the glass rattling from the low-end, sleazy-motion electronics. Gateway use their instruments like archaic tools, etching gritty patterns of distorted thuds and bone-weary tones into clay. The duo steps right up to a line of unstable chaos, but manages to keep the dog on the leash, making for tracks that are hella jagged but still under control. [read more]

 #4: Cabo Boing – Blob On A Grid (Haord)

If Mark Mothersbaugh had the gumption he would have made “Blob On A Grid” years ago, and it would have soundtracked many a Pee Wee’s Playhouse episodes. Not a single second of it’s eccentric no-wavery antics wouldn’t cozy right up on Chairry’s fluffy cushion. That is fact, not opinion, and in no way open for debate. [read more]

 #5: Giant Claw – Soft Channel (Orange Milk)
 #6: Fletcher Pratt – Selected Works (2015-2016) (Never Anything)
 #7: Jake Acosta – First Corridor (Pretty All Right)
 #8: Fire-Toolz – Drip Mental (Hausu Mountain)
 #9: Samantha Glass – Introducing The Confession (No Rent)
 #10: Shredded Nerve – Trojan Self Image (Chondritic Sound)
 #11: Fkm200 – Sounds Of Corrupted Waters (Æescape Sounds)
 #12: Joe Limbus – Memotos Mori (Orb)
 #13: Nature – Nootropicalia (Shadowtrash Tape Group)
 #14: Unguent – Simulation Of A Bat Engulfed In Acid (Refulgent Sepulchre)
 #15: J Hamilton Issacs – Dugoutcanoe #7 (Ancillary Apotheoses)
 #16: Střed Světa – Rozmístění opakováním (Baba Vanga)
 #17: Arvo Zylo – Sequencer Works Volume Three (Personal Archives)
 #18: Lee Noble – The Hell Of You Come In (No Kings)
 #19: Khaki Blazer – Didn’t Have To Cut (Hausu Mountain)
 #20: Hans Appelqvist – Swimming Pool (Orange Milk)
 #21: HAHA Mart – Family Denim (Noumenal Loom)
 #22: Charles Barabe / Ratkiller split (Crash Symbols)

Barabé snaps into his side, “Avant​-​Garde Avorton Romantique,” like a rat trap, ironically. Channeling the brooding proclivity of dense soundtrack narratives, Chuck reassigns hunks of classical music and it’s kin into beyond epic sagas. As the timpani crashes with anger, reverberating around fever inducing cleaves of sound, you can almost smell gladiators prepping to do something raw and regrettable. [read more]

 #23: Crazy Doberman – Hell Is Within Us (Castle Bravo)
 #24: THÉ DÉLUGE – Forest Structures (Umor Rex)
 #25: RM Francis – Hyperplastic Other (Nada)
 #26: Spykes – Parashi – s/t (Oxtail Recordings)
 #27: Al Lover – Interference Patterns (Crash Symbols)
 #28: Dirt & Space – Ten Million Ways To Die (Dinzu Artefacts)
 #29: Billingtons / Shippy / Wyche – s/t (Astral Spirits)

Somebody scrape me off the wall, because Billington/Shippy/Wyche’s tape blasted out of my speakers and shredded my face. I was unsure what was happening at first – I assumed this release came from renowned British crooner Lord Billington Shippy-Wyche, but I was incorrect in assuming his dulcet voice would emanate from my tape player. Instead we get a guitar-guitar- drums trio, consisting of Mark Shippy (yeah, the U.S. Maple guy), Daniel Wyche, and Ben Baker Billington (yeah, the Quicksails guy). We also get a no-hold’s- barred improvisational set that’s bound to knock your socks (or, ahem, your face) off. [read more]

 #30: Sun.Tv – Spells and Other (ShadowTrash Tape Group)
 #31: Imbue – Ghost Stories (Already Dead)
 #32: Moth Cock – 0-100 At The Speed Of The Present (Hausu Mountain)
 #33: Nikmis – 10 Movements For Large Synthesizer (Third Kind)
 #34: Joe Mygan – Hidden Features (Moon Villain)
 #35: Toiret Status – Nyoi Plunger (Noumenal Loom)
 #36: German Army – Pyura Chilensis (Luce Sia)
 #37: Musa Dwarf ‎– Jäätelöö (Lal Lal Lal)
 #38: Fischkopf Sinfoniker – Music For A Revolution (Orb)
 #39: Don Gero – Wizarding (Crash Symbols)
 #40: Sad Cambodia – First Metheoretical Bulletin (Sincope)
 #41: Andreas Brandal – The Work Of The Spider (Muzan Editions)
 #42: Odd Person – Star Maps From The Flower Temples (Analog Minimum)
 #43: Somnoroase Păsărele – ESSEN (Tymbal)
 #44: TüTH – Transgression (Umor Rex)
 #45: More Eaze – Articulate Ridge #16 (Personal Archives)
 #46: Maharadja Sweets – Slithering Kingdoms (Oxtail Recordings)
 #47: Liz Roberts & Henry Ross – Death Knell (Unifactor)

Liz Roberts and Henry Ross are living the dream. Well, my dream anyway – a dream of getting to dismantle a car, piece by piece, leng t’che via rotary saw and sledgehammer. Total destruction, for fun! And for art. Mostly for fun. Long have I desired to get my hands dirty and just shred whatever vehicle I could get my hands on – there’s just something about the slow carnage of ripping apart an automobile piece by piece that just gets me up in the morning. Is it the allegory to modern life and convenience that the deconstruction of such a symbol represents, the commentary on consumerism and capitalism that invites critical appraisal on such an act? Haha, not for me. For Roberts and Ross, sure. I just like the smashy smashy–ness of it. [read more]

 #48: Nonhorse “Nobody, Never Yeowe” (Five)
 #49: Michael Foster And Ben Bennett – In It (Astral Spirits)
 #50: Sam Gas Can – Plays the OP-1 (HEC)
 #51: Arian Robinson – An Eternal Sleep (Ephem Aural)
 #52: Brett Naucke – Multiple Hallucinations (Hausu Mountain)
 #53: LEOLYXXX – Plastic Inners: Nigerian Boogie Mixtape (Origin Peoples)
 #54: Q///Q – Serene Answer (Baked)
 #55: Mukqs – ダメ人間 (DAME NINGEN) (Umor Rex)
 #56: Matthew Revert – Illness Seminars (No Rent)
 #57: Duncan Malashock – Interiors Vol. 1 (Beer On The Rug)
 #58: Emerging Industries of Wuppertal – Systems for Simulating… (Strategic Tape Reserve)
 #59: MSHR – Emergent Knot Traces (self released)
 #60: Dominic Republic – Hello Island (auralgami SOUNDS)
 #61: Shingles – Guantanamo Patch Bay Vol 5: At Home With Machines (self released)
 #62: Macula Dog – Natural Dog (Haord)
 #63: buta nite – os charnecos (OTA)
 #64: Max Eilbacher – Music For Piano #7 (Unifactor)
#65: Jadapod – Fate 1 (Nextage) (Nextage)

Throw a rock out the window. Go ahead, I wont tell mom. Chances are you just bonked a cassette right in it’s spools. A beat-laced cassette, most likely, one that was minding it’s own business just trying to enjoy the weather. The next thing, KABLOOM! A rock cracks it’s shell. And all because some bozo-joker told you to throw a rock out the window… Shame. Maybe I WILL tell mom. [read more]

 #66: Olson & Billington “Compound Sessions Vol.1″ (Robert & Leopold)
 #67: Nikmis – Widdendream (Third Kind)
 #68: Tick Gick – Soleil Noir (Castle Bravo)
 #69: Aviary s/t (self released)
 #70: J Butler – Real And Surreal (self released)
 #71: Pulse Emitter / Brett Naucke – Mugen Vol. 6 split (Hausu Mountain)
 #72: Raising Holy Sparks – Search For The Vanished Heaven (Eiderdown)
 #73: Piss Kills Mold – Sentient Fungus (Ultraviolet Light)
 #74: Matthew Greasley – Railwave (Uncle Bob’s)
 #75: Gerrit Hatcher – Good Weight (Amalgam)
 #76: American Cream Band – Embrace You Millions (Medium Sound)
 #77: Takahiro Mukai / Shoeb Ahmad – split (Tandem)
 #78: Dee Grinksi – Subspace (Tape Lamour)
 #79: Pulse Emitter – Chilling In The Eye Of The Storm (Expansive)
 #80: Okha – Power Cannot Conquer Heaven (No Rent)
 #81: Body Shame – Open Sores (SadoDaMascus)
 #82: German Army – Pacific Plastic (Seagrave)
 #83: Howard Stelzer – Sun Pass (Moss Archive)
 #84: Machine Listener “Nocturnal People” (Hidden Eyes)
 #85: Ivy Meadows – Zodiac (Moon Glyph)
 #86: C. Reider – Chew Cinders (Midnight Circles)

C. Reider’s “Chew Cinders” C26 plays like a dusty reel-to-reel found at an estate sale. Ideas of the original content remain intact, but just barely. As bits of strained words warp into swine-like snorts you can only imagine what was initially recorded on the magnetic tape before time and the elements ate away at them. Those antique distortions, with their airy, chalky bias, are met with the occasional synthy snaps, but this tape feels most at home trapped in mold. [read more]

 #87: System Scattering Period – Oblique Motion (Personal Affair)
 #88: Gunther Valentine – Music For The Anthropocene (No Rent)
 #89: Convivial Cannibal – Have Youth Will Play (Dysgeusia)
 #90: Oil Thief – Stratagem (Chondritic Sound)
 #91: Hainbach – On Endless Beach (Gohan)
 #92: Christian Mirande – Museum Piece (No Rent)
 #93: Venderstrooik “Smetvrees & Kruisbesmetting” (Raketenbasis Haberlandstrasse)
 #94: moduS ponY – Phonogetic Ouch (Strategic Tape Reserve)
 #95: DJ DJ Tanner / Ross Wallace Chait – split (5CM Recordings)
 #96: Michealcushion – Life Escaper Trial Edition (Melty)
 #97: Max Eilbacher – Dual Monologues In Parallel (Mondoj)
 #98: Nakatani​/​Nanna​/​Schoofs​/​Woods – s/t (Full Spectrum)
 #99: Monotrail – Selected Jams (Oggy)
 #100: Ropal Jagnu / Stephen’s Lorikeet / Rigel Magellan / DDM – 4way split (OJC)
 #101: V/A – Lives Through Magic, Volume 1 (Lives Through Magic)
 #102: KFM – \\\fail (self released)

I don’t know much about computers. I’ve never seen the 1995 crime-drama Hackers, and the only thing I remember from The Net is when Sandra Bullock’s character Angela orders a pizza from the site pizza.net. I do have strong memories of playing, very well I might add, a game called Jezzball on Windows 3.11. That, and being reminded by my dad to constantly defrag. We were ALWAYS defragging. Maybe all of that obsessive defragging paid off, because I never had a computer shit out on me. I did manage to spill an entire cup of coffee into the works of my current HP, but technical support somehow managed to de-coffee all of the motherboards and had me surfing sites like pizza.net in no time. [read more]

 #103: Form A Log – At A Festival (Hausu Mountain)
 #104: Former Airline – The Discreet Charm Of The Ghostmodern World (Ephem Aural)
 #105: Floian Von Emeln – Interbellum (Muzan Editions)
 #106: Eaton Flowers – Epəkə (SadoDeMascus)
 #107: Peter J. Woods & Andrew Weathers – A Whole New Alphabet (Flag Day)
 #108: Juice Machine – Sparkling Water (Steady Hand)
 #109: Inner Travels – Sea Of Leaves (Inner Islands)
 #110: Tölva – Manudaga (Blight)
 #111: Ant’lrd – Cherubian (Moss Archive)
 #112: Axebreaker – Virtue Signaling (Jouissance Du Rien)
 #113: Brode/Luczak/Spellman/Spreaders – Blanket Statements (Orb Tapes)
 #114: Sug – Only Hidden Once (Baked)
 #115: MU*MIT – NE T​*​SSÄ (Lal Lal Lal)
#116: OMNIVM – Madmen Playground (Never Anything)
 #117: Birchall / Smal / Webster – Drop Out (Astral Spirits)
 #118: Cop Funeral – Part-Time Pay (1980 Records)
 #119: C. Reider – Listening After The End (Reno Park Press)
 #120: Caldwell/Tester – Two Reels (Medium Sound)
#121: Corsica Annex – Fluid Electric (Ingrown)
 #122: Spore Spawn – Ochitsuitara (Oxen)
 #123: WAZOO – NONZOO (Already Dead)
 #124: More Eaze / A.F. Jones & Steve Flato split (Astral Spirits)
 #125: Llarks – Reflections (Tape Lamour)
 #126: DJ Voilà – Dumbledogs (Noumenal Loom)
 #127: Patrick Shiroishi – Tulean Dispatch (Mondoj)
 #128: Mahjoop – Ravel (((Cave)) Recordings)
 #129: Colin Andrew Sheffield & James Eck Rippie – Essential Anatomies (Elevator Bath)
 #130: Moltar – Eclypse Inside (Unifactor)
 #131: Long Distance Poison – Rheomodes (Oxtail Recordings)
 #132: Korean Jade – Exotics (Plush Organics)

Cloaked in low-res black & white conceptual imagery, with perhaps a small visual nod to “Pulse Demon” by Merzbow, comes “Exotics.” This seven cut C30ish by Korean Jade acts like a medicated liniment. It’s flexible drones and swerving patterns rub on like a lotion, but with enough coarseness to cause friction and heat when applied. I don’t know who is behind the Korean Jade name, but whether they were going for beauty trapped in crud, or crud trapped in beauty, they got there. [read more]

 #133: Huron – The Red Tape (self released)
 #134: Cops – s/t (Field Hymns)
 #135: Aaron Diko – DDCT (Medium Sound)
 #136: Luminous “Diamond Ben” Kudler – Thymme Jones (Unifactor)
 #137: WUMISI – s/t (OJC)

Oh, brother. Looks like my old Hi-Fi is on the fritz again… Maybe the springs are on too tight? Or too loose?? Not being a mechanic I have no clue how stereo systems function, but I do know that something has definitely gone sour, because this WUMISI cassette from OJC is hurdling all over the dang place. Fast forwarding and rewinding on it’s own like a doggone spirit from the ever after has taken it over. Lordy, I hope it’s a spring issue and not a ghost outbreak. Springs are way less scary. While I get a repair tech on the horn, and a Catholic priest in case I need the power of Christ to compel this thing, I’ll listen to WUMISI on Bandcamp I suppose. [read more]

 #138: Andrew Weathers “Under The Tree” (Full Spectrum)
 #139: German Army – Kurgan Hearth (OTA)
 #140: Witches Of Malibu – The Grand Crucifier (Dead Media Recordings)
 #141: Clinical Trials – Empty Infinities (Second Skin)
 #142: List Of Moths – s/t (Turlin)
 #143: Ben Zimmerman “PSYMULCASTER” (Bedlam)
 #144: Staticnosis – s/t (Shadow Trash Tape Group)
 #145: Nmemosyne – Bucket Brigade (Love All Day)
 #146: Evan Zierk – Drifting / Bending (Atlantic Rhythms)
 #147: Finlii “Skyscrapers” (Bedlam)
 #148: Aylu – Groove 4 (Outlines)
 #149: Endurance – s/t (SR)
 #150: Ctrl-Z – s/t (Full Spectrum)
 #151: The Moon Rises In – Maevis (OTA)
 #152: Complainer – Floodplain (Already Dead)
 #153: Atariame – Fear Is The Wrold (Constellation Tatsu)
 #154: Gmackrr – La Dépendance Électrique (Spring Break Tapes)
 #155: Noise Altar – Memory Decornstruction (self released)
 #156: Alex Crispin – Idle Worship (Sounds of the Dawn)
 #157: Monas – Freedom (Astral Spirits)
 #158: Skin Graft – Peripheral (Unifactor)
 #159: Ugliest Man / Eazykill – split (Tandem)
 #160: Ant’lrd / Bastian Void – split (Muzan Editions)
 #161: Himukalt – Vulgar (No Rent)
 #162: Macho Blush – Moodshow (Heavy Mess)
 #163: Mt Accord – In Reverie (Colour8)
 #164: TMRPOE – Keep Sleeping (ACR)
 #165: Nagual – Scraps: Southern Tour (Pidgon)
 #166: Halfbird – Loomings (SadoDaMascus)
 #167: Levels – s/t (Umor Rex)
 #168: Jason E. Anderson – Truth (Draft)
 #169: Gidouille – Eedipal Wrecks (Cruel Nature)
 #170: Crushtrash – Reclamation Yard (Third Kind)
 #171: Charles Barabé – Cicatrices II (Never Anything)
 #172: Curved Light – Vast And Infinite (Field Hymns)
 #173: David Kanaga – Operaism (Orange Milk)
 #174: Haseful – Lord Of Carrion (self released)

Proving that blast beats and shredding guitars do not necessarily black metal make, Hasufel dons the dark robe of the mystic high priest and invites us all along for a gloom-and-doom-filled ride through the mist and the fog toward an unholy meeting place where the veil separating the spirit realm from this mortal coil becomes thin. As the groans from minor keys upon an organ (patch) and the rhythmic dragging of chains menace upon the wind, I have some great news for those who are even remotely interested – as I write, Halloween is almost upon us, and you could do way worse than Hasufel for a guide to navigate you through the “season of the witch.” [read more]

 #175: Hainbach – The Evening Hopefuls (Spring Break Tapes)
 #176: FIN – Ice Pix (Hausu Mountain)
 #177: Friesen/Waters Duo – No.3 (Shaking Box Music)
 #178: Heaven Copy – Final Country (Summer Isle)
 #179: Tinmixer – Wayfarer (House of the Leg)
 #180: Noah Anthony – Home Demos Vol.1 (Vogue Professional)
 #181: Marvisser – Xiakihu (Irrational Tennent)
 #182: Me, Claudius – Reasons For Balloons (Dinzu Artefacts)
 #183: Julia Bloop – Roland Throop (Crash Symbols)
 #184: Scant – Old Dominion (Chondritic Sound)
 #185: Qualchan. – Vera’s Dream (Æescape Sounds)
 #186: Valle de Galgos – El Domo Spitzerwelt (Tymbal)
 #187: SCC – MFAR (Refulgent Sepulchre)
 #188: Power Mystery – Nest Broom (Spring Break Tapes)
 #189: Preyocupado – Characters Of A Calander (Lighten Up Sounds)
 #190: C CC V L T S SS – T R A U M A T A (Castle Bravo)
 #191: Banal Anml – Misantropics (Lake Paradise)
 #192: Eric Pitra – Casette: Film Score (Landscape Tapes)
 #193: 2ndSun – Blue Twenty-Five (Blue)
 #194: Map Collection – Jao Dub (Midori)

Do you remember the episode of Star Trek: TNG when Fletcher Pratt and Curt Brown randomly beamed aboard Enterprise, interrupting the recording of a Captain’s Log? It’s an extremely rare episode titled “Jao Dub” that aired during season 8 or 9… Maybe 10? Known by a superfan (ie: me) as the one where Picard mumbles “oh shit” 11 times, it begins with Starfleet investigating what they foolishly confuse as distress signals from a small Class M planet nearby. After tracking down the curdling cry for help the crew scans the planet’s life signals, when *POOF* Pratt & Brown appear on the bridge, startling poor Picard who spills his tea, Earl Grey, hot all over his uniform. [read more]

 #195: Old Maybe – Piggity Pink (Ramp Local)
 #196: $3.33 – Drill (Noumenal Loom)
 #197: The Ether Staircase – Aether 6 (((Cave)) Recordings)
 #198: Amulets – PlannedObsolescence (Dinzu Artefacts)
 #199: Sarcastalites – Spaces For Strangers (Bullshit Night)
 #200: Splice Girls – Spliceworld (Suite 309)
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Tabs Out | Yves Malone / Grapefruit – split

Yves Malone / Grapefruit – split
12.7.17 by Ryan Masteller

Yves_Grapefruit

Don’t look now, but Tandem Tapes is at it again, everybody! This time it’s Field Hymns (among others) alumni Yves Malone and Grapefruit lending their dastardly psychedelic synth scores to … what is that, a moon rover? Sure, Yves Malone and Grapefruit are on the moon. Probably isn’t the first time.

Yves’s half is a further platform for that John Carpenter vibe he’s perfected better than Carpenter himself, as if he wandered into some comic/sci-fi convention where Carpenter was addressing a crowd from a podium and he walked up and grabbed the mic and was all like, “I’m your John Carpenter now.” The crowd of course would go wild because Yves doesn’t go anywhere without a keytar strapped on and angular futuristic shades, and he’d totally melt hearts and brains at the first riff blasted through the auditorium’s PA system. Yeah, imagine all that happening on side A, because it totally just did in my head. Or was it a premonition of things to come? I have been known to be psychic from time to time, like those kids in “Village of the Damned.” Who directed the remake of that again?

Grapefruit’s a little more reverent toward their lunar location (yeah, I’m still going with the musicians on the moon thing), as their snarly synth and guitar lines sound eternally stuck in a planetarium. Or, no, not planetarium – actual moon. I’m confusing my own narratives here. Maybe it’s the secondhand space dust I’m ingesting from this tape, or maybe it’s the firsthand space dust I’m ingesting while I’m hanging out on the moon with Grapefruit and Yves Malone, because I don’t know what’s up or down or where I even am. The best guess is that I’m probably under the blanket I’ve propped into a tent on top of my bed and that I’m just hallucinating this whole day. My wife is going to be really weirded out by all this when she gets home.

As you know, Tandem Tapes sell out faster than moon rocks on the black market, and this one’s no different – 7 left of the original 25! That initial run seems like a joke, what with all the disposable income we middle-class Americans have due to our favorable tax environment. (Oh, right…)

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Tabs Out | The Eargoggle – The Beautiful Creatures Really Are So Cruel

The Eargoggle – The Beautiful Creatures Really Are So Cruel
12.1.17 by Ryan Masteller

new

This tape dropped a Kerry Wood reference within the first minute of its first song, and you guys know I was hooked from there. I mean, c’mon, what other songs do baseball right, Fogerty’s “Centerfield”? No way – “Centerfield” is bad and Fogerty should FEEL bad about ever writing it. Ezra Gale’s “TSFW,” the leadoff track to “The Beautiful Creatures Really Are So Cruel,” is good, but it gets knocked a couple of points for not referencing Philly greats like Cole Hamels or Cliff Lee or Doc himself, Roy Halladay (RIP). I guess he needed to rhyme something with “good,” and the rest is Chicago Cubs history. (Plus, just TRY rhyming anything with “Bedrosian” – it’s like the “orange” of last names.)

You’re not here to read me going off on perceived MLB slights, but you ARE here to read about another good old-fashioned American institution, cassette tapes. Specifically today The Eargoggle’s sprawling new monolithic nineteen-song suite just released on November 17, exactly within a week of my birthday, so I’ll consider this an early present from Mr. Gale. Where do you start with Ezra? He’s got fingers in so many pies, and all of them seep into the Eargoggle sound: he’s the proprietor of the wildly eclectic Very Special Recordings, founding member of “legendary afrobeat band Aphrodesia,” and member of other drastically different musical projects, like ska-fuckers Super Hi-Fi and Zep-lovers Benninghove’s Hangmen. There is no pinning him down. I mean, just take a look at the guy – he’s got his hands full of so many instruments that he doesn’t even know where to begin half the time! (And they took this picture BEFORE he climbed a grand piano stacked with Neil Peart’s drumkit, then stood atop it with his arms raised like he just scaled Everest. Oh, and he’d added a tuba to the array of instruments you see here, just to make it “a little more challenging.”)

Ezra Gale

Yeah, I did say nineteen songs, so stuffed was Ezra’s mind with melodies and ideas that he couldn’t stop, even when he tried, even when others tried to stop him, tried to wrench open his spasming fingers from the neck of his guitar at 3:00 am in the “studio” (meaning his 4-track at home). But it was no use, and we’re so much the better for it. “The Beautiful Creatures” is filled with endless grooves that burrow in your mind like parasites, but instead of having to annoyingly treat parasites you just have to listen to another song to move on and continue the cycle. And speaking of parasites, I can’t help but wonder how many parasites the bird on the (admittedly absolutely wonderful) cover of “The Beautiful Creatures” has crawling all over it. Does this make you feel itchy? It should! Ezra Gale makes super itchy music as the Eargoggle, meaning it’s a butt-wiggling mélange of danceable rock action and experimental pop goodness. That should be enough for you.

This tape is limited to 100, but there is SO MUCH MUSIC on it, $8 seems like a steal. Score it from Very Special Recordings, meaning pretty much Ezra himself.

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Tabs Out | KFM – \\\fail

KFM – \\\fail
11.28.17 by Mike Haley

kfmfail

I don’t know much about computers. I’ve never seen the 1995 crime-drama Hackers, and the only thing I remember from The Net is when Sandra Bullock’s character Angela orders a pizza from the site pizza.net. I do have strong memories of playing, very well I might add, a game called Jezzball on Windows 3.11. That, and being reminded by my dad to constantly defrag. We were ALWAYS defragging. Maybe all of that obsessive defragging paid off, because I never had a computer shit out on me. I did manage to spill an entire cup of coffee into the works of my current HP, but technical support somehow managed to de-coffee all of the motherboards and had me surfing sites like pizza.net in no time.

It would appear that KFM has not been #blessed with such luck. “My piece of shit hard drive died, leaving me with these unfinished tracks.” That is how KFM describes “\\\fail.”  I suppose it’s far too late to contact any of the computer repair services in his hometown of Millville, NJ. I wont even suggest defragging at this point. What’s done is done and these 20 tracks have been put out into the world. So are they unfinished? I mean, there existence would suggest that they are finished, right? There is no going back to that piece of shit hard drive to collect whatever was on it. The tape is out. It is finished. But is anything really finished? I’d wager one could trot on over to a record store in Millville right now and pick up multiple variants of “Rumours” with contrasting remasterings, retoolings, and audio defraggings. Would you consider “Rumours” to be “finished?” Do you want to get high and have that conversation? No? Okay…

“\\\fail” is not “Rumours.” And finished or unfinished, it’s an excellent collection of music with an ever-swaying emotional disorder. I wouldn’t recommend jamming this for your crew though. Let’s consider it alone music. The synthesizers will sometimes throw you behind the wheel of a super fancy 1990’s sports car, but sometimes they’ll jam you on a packed city bus next to a guy with nose crusties. One second you’re marveling at how moisturized your skins is, then some creep is whispering to you about anal sex. Seriously, there is a song called “a s s p l a y” with decelerated conversations about anal sex. And you know what? It’s not just listenable. It’s really good! KFM manages to make that something worth listening to. But, like I said, these are alone songs. I guess you could attempt a group listen… You could sit in the middle of a circle of friends, playing “\\\fail” on a shitty boombox while doing live commentary. “Okay, you guys remember that squiggly techno thing? Okay. Okay. Here comes some squiggly Faith No More type booger. Okay. Okay.” It wont end well. You’ll just look weird.

Now everyone defrag and head on over to pizza.net to buy a copy of this (un)finished cassette tape, which was made in an edition of 100 by the way.

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Tabs Out | Liz Roberts & Henry Ross – Death Knell

Liz Roberts & Henry Ross – Death Knell
11.27.17 by Ryan Masteller

20171127_102321

Liz Roberts and Henry Ross are living the dream. Well, my dream anyway – a dream of getting to dismantle a car, piece by piece, leng t’che via rotary saw and sledgehammer. Total destruction, for fun! And for art. Mostly for fun. Long have I desired to get my hands dirty and just shred whatever vehicle I could get my hands on – there’s just something about the slow carnage of ripping apart an automobile piece by piece that just gets me up in the morning. Is it the allegory to modern life and convenience that the deconstruction of such a symbol represents, the commentary on consumerism and capitalism that invites critical appraisal on such an act? Haha, not for me. For Roberts and Ross, sure. I just like the smashy smashy–ness of it.

But thanks to Roberts and Ross, I can now vicariously experience the disassembly I so long for without my neighbors calling the cops on me in their driveway. The duo “performed” “Death Knell” in the parking lot outside Transformer Station in Cleveland, in association with the Cleveland Museum of Art, and recorded the proceedings via seventy contact microphones positioned over the car and wired into an audio mixer. The result sounds exactly like you would expect – lots of banging and clanging and whatnot. But as the four sides (this is a double cassette release after all) and two hours unfold, the sounds become disembodied from the activity and take on a life of their own, redefining themselves within the scope of ambient and noise music by shifting the focus to texture and the insidious rhythm that intermittently appears. The further you allow your mind to drift from the central conceit, the less obviously “ripping apart a car” it becomes. That’s a neat trick.

Spoiler alert: the car dies at the end, its mangled metal body lying strewn at the feet of the artists-slash-insane mechanics-slash-proto-industrial musicians. So too does our perception of a lot of things, not least of which is the sense of how far one would go to fish out the change just dropped beneath the driver’s seat. There’s literally no limit anymore.

This double C60 comes in an edition of fifty from Unifactor, and it is al…most…gone. Get busy, or get bent.

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Tabs Out | Faxes – Human Scale

Faxes – Human Scale
11.16.17 by Ryan Masteller

faxes

I mean, why not, right? You got a drum, you got some circuits and some piano keys, let’s just throw em all at a wall and see what sticks. No, literally, do it. The image is in my head, I wanna see it happen…

This is great news when you’ve got as minimal a setup as Faxes does, because you don’t have a lot of stuff to throw at that wall in the first place, so cleanup will be a breeze. Your instruments may be a little more broken, a little more worn, but I’m here to tell you that that’s the whole point with these guys, these Faxes, this PDX duo that clearly owns some Suicide and some Devo and some equally post-punk and new wave records. So yeah, that synth sound is super gritty, and whether they’re banging real drums or banging on a drum machine (just whacking it with a stick, which I’m probably making up) or programming the somewhat battered drum machine, the beats heave like seasick ponies on the ferry from Assateague. They have to get to the mainland somehow, and they have Nationals tickets! (Boo Nationals.)

Perhaps obviously, Faxes make music like fax machines transmit data – the end result may be blurrier than the original, but there’s a positive aesthetic you just can’t deny. (Well, unless you’re faxing me tax documents or something, in which case I need those to be pretty clear. Actually, I’ll go pick those up at my CPA’s office.) There are even vocals here and there, but since you can’t transmit vocals via fax … oh wait, you probably can, that would be a phone line. Anyway, Faxes songs usually introduce a melody, some squiggly shit, maybe some internet dialup texture, the ever-present rhythmic pulse, and then they spiral off into wherever they happen to be heading at any given time. The ride is the payoff – although be warned, that ride often feels like the audio equivalent of frantically throwing your rusted 1979 Chevette into reverse to escape the meat-grinder you’re caught in. That sounds all right to me, sure, but you have to be prepared. Those ponies are NOT gonna help pull you out of here, no matter how off-kilter you get.

Head on over to your friendly SDM Records (aka SadoDaMascus) internet website and pony up the dough (GET IT?) for one of the 100 of these pups in existence. Or all 100, I don’t care – what do I know how much you make.

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Tabs Out | Regattas – Garudas

Regattas – Garudas
11.13.17 by Ryan Masteller

garudas

I first encountered the mighty Garuda in Final Fantasy IX, because where the hell else is that gonna happen? Sure, you may have played FFIII or FFVII (and I played VII, OK?), but I remember vividly those encounters in Oeilvert and Esto Gaza where I wasn’t sure if I had enough HP to take on the flying bastards or if I was gonna have to dip into my inventory for an Elixir or a Hi-Potion. (I was always OK.) Now, looking back on it, I wonder if the Garuda shrieked a sound like a strangled saxophone before engaging in battle.

There’s the connection! “Garudas,” besides being the plural form of the name of a terrifying bird monster, is also the title of Sam Hillmer’s first solo tenor saxophone collection, a 2007 release under the name Regattas (which doesn’t really have anything to do with anything else – “regatta” means “a series of boat races). You might recognize Sam from his long-running experimental NYC project Zs, or you might know his work as Diamond Terrifier (and if you don’t, check out “Kill the Self That Wants to Kill Yourself” on Northern Spy, which, ahem, I wrote about once upon a time). “Garudas” even features the debut of the “Diamond Terrifier” concept, as that’s the name of track B3. Does that make this release his Mount Eerie? I don’t even know what that means.

If you’re going anywhere for Hillmer-related business, you’re going for the saxomophone, and “Garudas” is filled to overflowing with brassy goodness. Even back in oh-seven Hillmer was predicting the cornucopia of avant-jazz experimentation that we’re #blessed with today, from Astral Spirits to … Astral Spirits and beyond! (God I love Astral Spirits.) There’s no one with a more tightly controlled grasp on his horn than Hillmer (that came out wrong), and he wields it like a magic weapon, poised to take down in a series of turn-based blows any monstrous fantasy creature that steps out of a forest. Possibly while in Trance. To say that Hillmer is triumphant is as obvious as that saying about bears and the woods and … there’s something they do there … it’s on the tip of my tongue, I don’t quite have it.

So we thank the gods at Shinkoyo that they deemed it necessary to re-release a cassette version of “Garudas” on its tenth anniversary. Snatch one up before they’re gone for good! Or only available digitally! Which nobody wants!

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Tabs Out | Map Collection – Jao Dub

Map Collection – Jao Dub
11.9.17 by Mike Haley

20171109_104239

Do you remember the episode of Star Trek: TNG when Fletcher Pratt and Curt Brown randomly beamed aboard Enterprise, interrupting the recording of a Captain’s Log? It’s an extremely rare episode titled “Jao Dub” that aired during season 8 or 9… Maybe 10? Known by a superfan (ie: me) as the one where Picard mumbles “oh shit” 11 times, it begins with Starfleet investigating what they foolishly confuse as distress signals from a small Class M planet nearby. After tracking down the curdling cry for help the crew scans the planet’s life signals, when *POOF* Pratt & Brown appear on the bridge, startling poor Picard who spills his tea, Earl Grey, hot all over his uniform. Before Worf can even attempt to neutralize the situation, the duo takes over command of the ship and starts exploring it’s controls through excellent touch-screen menus. The following 30 commercial-free minutes, which were only televised once before all original recordings were allegedly destroyed, was raw footage of Map Collection wall-to-walling all of Enterprise with a nectarous dub experience. Naysayers will proclaim this all to be gibberish. They’ll say this never actually happened in the TNG universe. They’ll claim there were only seven seasons of TNG. They’ll ask you nicely to leave the convention. They’ll say “take your hands off of Mr. Wheaton!” They’ll have security set their tasers to tase and tase you.

But here’s my question: If the infamous “Jao Dub” episode is a sham, a ruse, a fig newton of my imagination, then how do you explain the soundtrack for the episode released on Midori Records on cassette tape format?!? […pause for drama..] And like Picard you mumble “oh shit.”

Anyone familiar and smitten with Pratt and/or Brown’s various works (alone or in pairs) will sink right into Map Collection. “Jao Dub” is krauty sometimes, peculiar most of the time, and always confusingly satisfying. It’s no wonder why Gene Roddenberry hand picked them himself for the episode. No strangers to the off-brand wing of kosmiche dub stylings and syntheizer wrangling, Map Collection squeeze out their musical souls like a 10.1 oz tube of clear silicone caulk. Thick and gooey they run beads of their mutant rhythms, tempting enough to slush your thumb into like wet wads of pineapple Bubble Yum, but globs upon globs would stick to your skin if you did that, plus time becomes a loop very often here, so just relax. I’d bet even Data would vibe out and nod along to sections, which is a pretty big deal. Map Collection keep this entire zone infected with scrambles and pops. Little ugly cousin sounds that pester the scene, but in a good way! Nothing like Tribbles, which I know is not TNG and I apologize to anyone who was offended by the reference.

So who are you gonna believe? Me with all of my PROOF or that asshole Wil Wheaton who can’t even spell his name right?

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Tabs Out | New Batch – Moss Archive

New Batch – Moss Archive
11.6.17 by Ryan Masteller

Moss Archive

Moss Archive is an enigma. Well, not really, not if your idea of an enigma entails such questions as, “What sort of quality release is MA releasing this month?” That’s more of a general question that all smart consumers ask their entertainment purveyors. And aren’t we all smart consumers in modern capitalist America? Regardless, if you were wondering where the Worcester label’s September 2017 batch falls within the general spectrum of experimental electronic tapes that they tend to release, you’re asking the right person. Because I’m going to tell you. Not here, though, below—where the reviews are. But let’s briefly wet your whistle in the two literal seconds before you read on, shall we? These two tapes show two very different sides of the Moss Archive coin – variety is the spice of life, friends.

 

PETER SELIGMAN – DROPUP
I like what label honcho Joe Bastardo says about “Dropup” — “[Some of] the most mind-bending sonic obstacle courses I’ve ever encountered. Not for the faint of heart.” Truer words, folks, have rarely been spoken, as Peter Seligman plasters the insides of your tape player with what is essentially the sonic equivalent of a paintball battle. Scratch that – more like a paintball massacre inside a 5×5 closet. And it’s a ten-on-ten game. Imagine that – all those bodies crammed, air rifles blazing, paint covering everything… inside the closet you built in your stereo! And Seligman makes the electronic sounds emanating from it – this truly is the blurst of times. Whether it’s the gonzo introduction “Obwave,” a made-up word that perfectly captures who Seligman—the man, the DJ, the producer, the New Yorker—is within its phonetic pronunciation, or the gonzo “Arf” (not a cover), or the gonzo “Rauv” (you get the idea, it’s all gonzo), every second of “Dropup” is weird and uncompromising. And the more you come back to the tape, the more you realize that “extra chewing” is sort of a mission statement here, insinuating that all the gooey electro splatters require extended comprehensive mastication to fully reflect their toothsome tactility. What I’m saying is, chew hardy, contemplate, and enjoy.

 

ENDURANCE – HETEROS
Joshua Stefane has, ahem, endured a lot, if his discography is any indication. The Ontario-born, Japan-based musician is neck-deep into a career that’s spanned thousands of miles, and he documents it both through sound, via his ambient moniker Endurance, and through vision—his photographs have graced a couple album covers along the way. A translator by trade, Stefane is deft at bridging divides, transcending language and culture with his music and getting right to the center of human emotion. On “Heteros,” “Origin” and “Outside the Body,” sides A and B respectively, guide you on a path to discovery through your own nostalgia, pinpointing the tension associated with painful learning and understanding but directing you to a better sense of self-awareness on the other end. Using tape loops and processing them with pedals and other gear, Stefane harnesses fragments of life and manipulates them into a haunting whole, dour but satisfying like a stormcloud on the immediate horizon that’s about *checks watch, checks track runtimes* fifteen minutes away, which is exactly how long each side is. You can mark the cloud’s approach as you listen to “Heteros,” and you can feel it merge with your being when it finally arrives. Oh, and Sean “Inner Islands” Conrad mastered this? That makes SO MUCH SENSE. This is right up his alley.

 

For these and all your other Moss Archive needs, you best head on over to the Bandcamp page. Once there, I guarantee you’ll buy more than just these two tapes (limited to 50 each, by the way).

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Tabs Out | WUMISI – s/t

WUMISI – s/t
11.3.17 by Mike Haley

20171103_090340

Oh, brother. Looks like my old Hi-Fi is on the fritz again… Maybe the springs are on too tight? Or too loose?? Not being a mechanic I have no clue how stereo systems function, but I do know that something has definitely gone sour, because this WUMISI cassette from OJC is hurdling all over the dang place. Fast forwarding and rewinding on it’s own like a doggone spirit from the ever after has taken it over. Lordy, I hope it’s a spring issue and not a ghost outbreak. Springs are way less scary. While I get a repair tech on the horn, and a Catholic priest in case I need the power of Christ to compel this thing, I’ll listen to WUMISI on Bandcamp I suppose.

Uh oh! Sounds like my computer has been zapped by a virus! Have these 400lb hackers no decency!? [Speaking of 400lb hackers, is that one on the cover? Talk about foreshadowing.] Looks like my poor soundboard doesn’t know if it’s coming or going, and is probably loaded down with every worm, spam, and Trojan pony in the book. I think WUMISI plays //okay// sometimes, and it squeezes out these contorted musical thoughts, but then it’s Sour Patch theater with a zillion child actors. Well, time to at minimum defrag my entire hard drive. I may even need to run VirusBozo 6.9 and really scrub the Russian bots out of this fella.

[VirusBozo6.9 ### status: ACTIVE! ### Progress: 42.0% out of 103%]

VirusBozo added a feature called Dead-Link Swiffer® to this latest version. Supposedly it cleans all the dead links off of your internet, leaving a fresh lemon scent and coupons for Swiffer® Antibacterial Wipes. Anyway, it takes a few days to run, so while that is happening I’ll go grab my Zune and play the MP5’s I downloaded earlier…

You’re not gonna believe this. The files are corrupted! It just sounds like an injured squirrel was granted one wish from an Oak tree that came to life and the squirrel said “I want to be music.” Just an injured squirrel… Poorly morphed into music. At one point I sorta made out the Sanford And Son theme song, and let me tell you this – I had NO CLUE that was a dang Quincy Jones song! Now THAT is a song. You could listen to the Sanford And Son theme for weeks and never think “this is an injured squirrel.” It just ain’t gonna happen, people. But WUMISI? Now that is an injured squirrel, hyper-accelerated and about to go BOOM!

[telephone rings]

Gotta go, that’s my priest, Father Francis Wumisi…. Wait a second!

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Tabs Out | Draft Announces First Release In Three Years + Sale

Draft Announces First Release In Three Years + Sale
11.1.17 by Mike Haley

D021-shell-detail

Every bozo that bought a weirdo cassette tape in the 2009 – 2012 time period surely remembers Gift Tapes. Gift (RIP) did some veeeeeery 2009-2012 things in that period, like releasing cassettes by The North Sea/Charlatan (who ran Foxy Digitalis, RIP), Bee Mask (who ran Deception Island, RIP), and many more, announcing them all on the Fangs & Arrows message board (RIP). Gift drifted into the organic void, but not before spawning Draft. Draft was created as an outlet for non-magnetic tape offerings, though most of it’s output was just that. It too fell silent along with Gift around 2014. Well guess what, baby? Draft wasn’t dead after all! And it’s back! I know, very Stranger Things, right? [Sorry if that reference is whacked. I’m not really watching Stranger Things very closely]

Draft’s first release in three years in a solo tape by the person behind Gift/Draft, Jason E Anderson. Now this guy’s audio fingerprints are all over both labels (Spare Death Icon, Brother Raven, Harpoon Pole Vault, etc…), but “Truth” is his first solo appearance on the Draft imprint. The C60 appears to be caked over with many a droid-like, satisfying zaps and smacks. The sample posted, which you can stream below, is a disorienting modular slalom from Anderson while Ian Halloran reads from the 1980 book Metaphors We Live By. In an email from the label “Truth” was described as such…

“Truth” is Anderson’s most recent solo recording involving voice and synthesis, a common thread found within his work over the last 5 years. “Truth” was created using a computer running supercollider to send control voltages to a modular synthesizer from an audio interface, while Ian Halloran read from ‘Chapter 24: Truth’ of Metaphors We Live By into a microphone routed to a preamp and ring modulator within the synth. The work’s progression relies entirely on the interaction between semi-random patterns and Anderson’s manual shaping of sounds and cueing of patterns. The music consists entirely of modulated oscillators navigating the stereo field, punctuated by irregular fragments of text that vary in intelligibility.

But, wait! There’s more! Draft has lowered the prices on a grip of back catalog goodies, including the MUST GET Greg Davis “States (3)” for five bones?! Go to Draft and get what ya can get!

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Tabs Out | Hasufel – Lord of Carrion

Hasufel – Lord of Carrion
10.31.17 by Ryan Masteller

hasufel

Proving that blast beats and shredding guitars do not necessarily black metal make, Hasufel dons the dark robe of the mystic high priest and invites us all along for a gloom-and-doom-filled ride through the mist and the fog toward an unholy meeting place where the veil separating the spirit realm from this mortal coil becomes thin. As the groans from minor keys upon an organ (patch) and the rhythmic dragging of chains menace upon the wind, I have some great news for those who are even remotely interested – as I write, Halloween is almost upon us, and you could do way worse than Hasufel for a guide to navigate you through the “season of the witch.” And it would sure help if he had some Peanut Butter Cups or Snickers in his pockets – I’d hoist up this idiotic hot dog top and follow him into the breach in a heartbeat if there was the possibility of pocket candy. We could get hungry along the way.

Proving also that you can get real dark with a bunch of synths, and taking cues from such likeminded souls as Lustmord and Coil, Hasufel only partially sheds the identity of “Dylan Ettinger,” synth maestro behind such classics as “Botany Bay,” “New Age Outlaws,” and “Lifetime of Romance.” But gone are the sci-fi nods and the post-punk trappings, and in their place are transcendental dirges and paeans to weird deities who probably have no right inhabiting this plane of existence (or, if they do have a right to be here, it’s bad news for everybody). Something as sacred-sounding as “Thrall to the Carrion Lord” is obviously intended to conjure wicked spirits, especially since “Carrion Lord” suggests a grotesque presence that the hymn is lifted to. But Hasufel is not bent on widespread ruin, not yet anyway – he’s simply massing his forces to accompany his mystical deeds.

At once ancient-sounding and future-looking, “Lord of Carrion” marks a determined and exciting hard left turn for Dylan Ettinger. It’s frightening and intense, gripping and repulsive all at once, “awful” as in both “full of awe” and “that demon heading toward me is awful, I’m outta here.” These mournful, preparatory incantations should serve as harbingers of apocalypse, whether of the cinematic variety or simply the famine-y/plague-y kind where most humans are wiped off the face of the planet and everything becomes a barren wasteland. If “Lord of Carrion” is any indication, that wasteland may already be present in Hasufel’s black heart.

“Lord of Carrion” comes in an edition of 100 (a big Masonic number, I think!) direct from the pits of Hasufel’s lair in … sunny Los Angeles. *facepalm*

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Tabs Out | Jadapod – Fate1

Jadapod – Fate1
10.27.17 by Mike Haley

jadapod

Throw a rock out the window. Go ahead, I wont tell mom. Chances are you just bonked a cassette right in it’s spools. A beat-laced cassette, most likely, one that was minding it’s own business just trying to enjoy the weather. The next thing, KABLOOM! A rock cracks it’s shell. And all because some bozo-joker told you to throw a rock out the window… Shame. Maybe I WILL tell mom.

The reason I can be fairly certain that your rock cold cocked a tape, a breezy one soiled over with groove at that, is because they are everywhere! The man on the TV said that maybe someone brought one over from Europe or somewheres, with plans of keeping it as a pet, but eventually tired of it’s company and released the poor thing into the wild. Before anyone could even say “low pass filter” it was breeding with the local tapes. Aaaaaaand population BOOM! They don’t really need that much to survive either — A few samples, some humid loops — plus they can squeeze through holes small as a nickle. At least, that is what the man on TV said. Some folks, increasingly annoyed by their presence and past the point of ignoring them, get rid of ‘em with a quick dub-over. Uncle Bert, I think he is on my mom’s side, he likes to make mixes of WASP and Nitro and shit like that over the little buggers to play in his car on the way to work. I think that is so cruel. Don’t get me wrong, I’m not one of those PETV (People for the Ethical Treatment of Vaporwave) loons! I’m no militant! I just think some of them are rather fun to have around… Hell, some are GREAT to have around. Plus, what I’m about to tell you about, though perhaps Vwave adjacent, doesn’t live in the neighborhood.

I know, I know. You want to throw another rock out the window. I’m almost done with my tale. So a few days ago I stopped by Uncle Bert’s to borrow his potato gun and scoped a New Balance box overflowing with just those kind of tapes. He found the lot sauntering over his sodden vinyl collection like ticks on the family pup. They had no clue his music collection was pure trash, and were just about goners due to lack of samples, but one tenacious son of a gun seemed to be surviving. Even thriving! I couldn’t tell much from it’s markings – Jadapod, Fate1, Nextagelabel, Made In L.A. festooned the cover, with a grey & green box wrapping around the spine – so I took it home and popped it in the cassette deck because that is where they LOVE to play. It galloped like a dressage horse with a decorative swagger, though one that had been threatened by the Elmer’s people a few times that it may end up in the craft aisle. There were some points so gluey it was like we were already there, smack between the stencils and model clay. There was a crustiness to some of the songs, like a dusty loop tape with rheum buildup in it’s crannies playing over snappy synth blurble and bootleg Windows startup sounds. Occasionally soft spoken voices would wind through the room, breathing on your neck with their soup breath, but they were just there to sell Dilaudid to the disco and dirge clips.

This would turn out to be “Fate1″ by L.A.’s Jadapod’s. Their upmteenth release, up until this point exclusively digital (including “Fate2″ and “Fate3″, released in reverse order), but first on cassette. So what to make of this? Jadapod takes a dip into the Hot Tub Chrome Machine that is the cassette world with a breezy, beat-laced debut tape and this review razzes that zone’s overcrowdedness. Attempted irony gone flat? Simply rude?? Neither was my intention! For the record I want them to, in the word of Lisa Loeb, stay. If company wants to bring dishes like this to the party, ingredients finely chopped and seasoning just right, I say the more the merrier.

Everyone, that is everyone but Uncle Bert, should grab a copy!

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Tabs Out | New Batch – Astral Spirits

New Batch – Astral Spirits
10.25.17 by Ryan Masteller

astral spirits batch

*Puff, puff, wheeze, wheeze* That run was killer! I can barely breathe … *gulp, puff* OK … phew … let’s do this… I am not in good shape like Arrington and Ted over there… I see you guys, all buff and junk… *pant* OK, I’m ready.

 

BILLINGTON / SHIPPY / WYCHE – S/T
Somebody scrape me off the wall, because Billington/Shippy/Wyche’s tape blasted out of my speakers and shredded my face. I was unsure what was happening at first – I assumed this release came from renowned British crooner Lord Billington Shippy-Wyche, but I was incorrect in assuming his dulcet voice would emanate from my tape player. Instead we get a guitar-guitar- drums trio, consisting of Mark Shippy (yeah, the U.S. Maple guy), Daniel Wyche, and Ben Baker Billington (yeah, the Quicksails guy). We also get a no-hold’s- barred improvisational set that’s bound to knock your socks (or, ahem, your face) off. The trio goes straight for the jugular and then the carotid, detonating a pipe bomb of serrated guitar and frantic drumming that virtually impossible to withstand. However, to suggest this onslaught is not only gripping but also enjoyable is not as ridiculous or far-fetched as it seems. Quite the contrary, dear chaps, the virtuosity on display is spellbinding in its acceleration, the pedal always to the proverbial metal. (I have a vague idea why I’m thinking in a British accent right now.) Then side B happens, and the spaces of “Norvin’s Fandled Submersible” (also probably the title of a song in Lord Billington Shippy- Wyche’s oeuvre) open up, and the textures and tones – oh, the textures and tones! – become more distinct. Each player is given more exposure to shine on their own, and they circle each other until erupting together in the tape’s ultimate passage. Now it’s time to phone the janitor (I have a janitor for my house) to do something about this mess. I’ll be fine, I’m a Christian.

 

ARRINGTON DE DIONYSO & TED BYRNES – THE BALLOT OR THE BULLET
Much like Billington / Shippy / Wyche, Arrington de Dionyso & Ted Byrnes grind through free improv jazz at peak performance, like athletes at the top of their game, endurance training while the “Record” button is pressed. Unlike Billington / Shippy / Wyche, Dionyso & Byrnes are only TWO people instead of three, and there are tenor and baritone saxophones and bass clarinet smeared all over this tape. (Byrnes plays drums, like Billington, so … same?) Since it’s scientifically proven that it’s harder for two people to do the same amount of work as three, THE BALLOT OR THE BULLET is a greater achievement and should thus be recognized as such. Because, again, science! (I don’t know what’s gotten into me.) Because I’m just kidding, guys! When you give me that look, it’s a joke. Let’s forget about all the comparisons and just let it stand that THE BALLOT OR THE BULLET, with a title like that and roots in a musical tradition rife with protest documents, stands as a massive monument of a middle finger to an America that just can’t get it right. Sorry to get all political here, guys, but c’mon, let’s stand for the anthem, OK? (Again, the look means joke! A joke, incidentally, I shamefully admit I stole from Mike Haley.) BALLOT/BULLET really is a just visceral reaction to the utter flaccidness of governmental power and how the majority of thE country feels about it. Wanna blow as hard as you can into a horn to get it out of your system? Dionyso does. Wanna pound on a drum kit till your fingers bleed and you can transfer your attention from your psychic pain to the physical? Byrnes does. Let’s take a cue from these guys, shall we? Channel that anger into something positive. If we all do that, maybe something good will happen.

 

NAKATANI / KAWABATA / CHOU – PERIGEE
Back to the trio with this one, but the heavy lifting going on here is of the cerebral variety. Whereas the previous two tapes in this batch reeked of athletic effort – the drenched pits and crotches of the players a victorious mark of vigorous physical exertion – ew, c’mon man – you’ve got to get in the three heads of Tatsuya Nakatani (percussion), Makoto Kawabata (guitar and electronics), and Henna Chou (cello and electronics) to experience the full power of “Perigee.” That’s not to say that Nakatani, Kawabata, and Chou each have three heads – that wasn’t clear at all in the previous sentence. Each has only one head, the three heads I referred to are the three heads combined in the compositional effort. It only SEEMS like each has three heads, because there’s the equivalent of three brains in each head, 3x mental processing power. I see how you could get confused. Regardless, “Perigee” unfolds with care, each player adding and subtracting elements with a deliberateness that appends the term scientific” to the experimental nature of these recordings. Because not a second or a sound is wasted – even when free improv hissy fit “Apsque” interrupts the otherwise tranquil process, there’s a control that’s evident. After so much sonic splatter on these other tapes, “Perigee” is a nice palate cleanser.

 

MATTHEW LUX’S COMMUNICATION ARTS QUARTET – CONTRA/FACT
Is “Contra/Fact” the hidden gem of this Astral Spirits batch, or am I imposing a narrative where one doesn’t belong? What constitutes “hidden,” anyway? Is it “hidden” because I simply came to it last, the final tape of four in this magnificent batch? Or is there some other characteristic that makes it a little less obvious than the others? I guess if you held the green j-card splotched with yellow, orange, and red up to certain trees at certain times of the year, it would be camouflaged. Maybe it’s because it begins so differently than the other three tapes here: the dash of Afrobeat and rumba on “Carmisa Sate” had me wondering if Matthew Lux’s Communication Arts Quartet was the second comping of Fela Kuti’s band! That’s a ridiculous thing to wonder, but the four-piece of Mikel Patrick Avery, Ben Lamar Gay, Jayve Montgomery, and Matthew Lux wander through some pretty enticing territory on “Contra/Fact,” from smoky jazz club stages on “C.G.L.W.” to, yes, even more vaped-out experimentalism (“Ninna Nanna”). “Paw Paw” might be my favoritest new jazz tune. “Colonial Gysins” is about as prog as these jazz hounds are going to get. I could keep going, and it doesn’t matter in the end whether this hidden gem is hidden or right out in the open – it’s still a gem, and I can’t get enough of it. Can’t get enough of any of these tapes, really.

 

As usual, these lovely tapes come in batches of 150 from Astral Spirits, and you can totally buy them all right now! And you should! Only problem is that you’re going to want to buy the back catalog as well, so make sure you have enough funds in your bank account before you follow any of this advice.

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Tabs Out | Cloud Tangle – Pocket

Cloud Tangle – Pocket
10.17.17 by Ryan Durfee

0009351792_10

Cloud Tangle is the recording project of Amber Ramsay, who released this gorgeous short EP through Valley Heat Records outta Brisbane. It also happens to me my introduction to both these Aussies, and what a pleasant treat both turned out to be!

I’m glad this tape appeared in my mail box when it did, when Seattle is getting cold and gray again for the next ten months. “Pocket” is perfect for sitting by the window while listening to the rain fall with a nice cup of tea. The A side of the tape, which the label lists as the feature of the EP, is absolutely fantastic. The first song, “Always Falling,” starts out with reverb’d out organ until Ramsay’s haunted vocals float in. With the appearance of drums, the song gently morphs into a beautiful post rock tune. This first side of the cassette is highlighted by “The Feeling Of You,” an exquisitely evocative song built off of dreamy guitar chords riding a hypnotic loping beat while Amber’s lyrics about missing someone just sends chills down the spine in the best way possible.

The B side is a collection of instrumentals (including “The Feeling Of You!”), an exclusive to the tape release. Unlike many a instrumental/remix/etc B side affairs, these are definitely not throwaway songs. Each compliment the flip side wonderfully, and I find myself rewinding it constantly to hear the track “The End Of You.” My only qualm with this EP is that, well, it’s an EP! Too dang short, it is! I’m really excited to see what Amber Ramsay does on her next album as Cloud Tangle.

This tape has been stuck in my player for about a week, so you can’t have my copy. But you may cop one of the other 49 copies here.

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Tabs Out | Diamondstein / Sangam – Lullabies for Broken Spirits

Diamondstein / Sangam – Lullabies for Broken Spirits
10.16.17 by Ryan Masteller

diamondstein_sangam

[Turns away from the audience, motions toward the director]: This is one of those split tapes right, where the one side is the one artist and the other one’s on the other? Yeah, it sounds great, can barely tell the two sides apart. That’s what they call “flow” I guess, right? So you want me to talk about it? I had a bunch of other stuff queued up. No, no, this one’s good, I’ll pop it in. Next break, can I get a water with some lemon? I know we’re back on in a minute – oh, thanks Cheryl, you had it all ready. Fantastic.

[Turns away from imaginary director, faces imaginary audience, which is essentially the front-facing laptop camera]: Hey gang, have I got a treat for you next, one that’s guaranteed to knock the socks right off your feet, but in a very QUIET, very CONTEMPLATIVE sort of way. Got a good grip on those socks now? (You’re really gonna need it!) We’ve got not one but TWO artists on this recording, each of them sharing the real estate, separated only by the direction of the magnetic tape. OR SO IT WOULD SEEM! Actually, it’s mostly that way, but the entirety of the release is sandwiched between collaborative tracks, the gripping “I Wish I Had More to Offer” and the nocturnal “Evenings Fly By.” But don’t be fooled, as Diamondstein and foil Sangam – or is it the other way around? – are perfectly capable each on their own to wield the mighty responsibility of atmosphere and mood, creating for you, dear audience, the perfect soundtrack to your late-night reveries.

[Turns, faces a different direction like there’s another camera over there, spends rest of time NOT looking at front-facing laptop camera]: But what IS the perfect late-night soundtrack? What does it entail? Surely some of you prefer the mournful, longing synthesizer leavened with field recordings of Sangam’s “Knowing Loss,” a passage not unlike Angelo Badalementi’s incidental synthesizer music on the original run of TWIN PEAKS, a damn fine television show if I should say so. But maybe you’re partial to the noir arpeggios of Diamondstein’s lengthy – at eleven and a half minutes! – and beautiful “The Praise Chorus.” Surely these two standouts are enough to sate your desires!

[Eyes close, breathes deeply, raises hand in a “stop” motion]: But no, the tape continues, and its loving embrace extends for its duration, its oddities and excursions illuminate its darker corners so that it at once presents itself as a unified whole. And this is why you must attend to “Lullabies for Broken Spirits” with the utmost care: the deeper you plumb its depths, the more you’re bound to uncover. And isn’t that the point of the adventure anyway? Your time on this planet is too short to not hold close the most profound mysteries you can uncover. Start here, start with “Lullabies for Broken Spirits,” start LIVING.

[Pauses, dramatic effect.]

[Presses stop, eats Cheeto. Is content.]

[Hovers cursor over Doom Trip Bandcamp site, notices only 12 of 100 copies remain, panics for a second, calls 12 friends, hopes to god they all buy a copy, realizes that the 12 friends don’t exist, considers buying them all anyway. GUYS, HURRY, I DON’T KNOW HOW MUCH LONGER I CAN HOLD HIM OFF…SOLD OUT!]

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Tabs Out | New Batch – \\NULL|ZØNE//

New Batch – \\NULL|ZØNE//
10.11.17 by Ryan Masteller

NULLTHUMB

Athens, Georgia, is still trying to shake the stink of R.E.M. and Elephant 6, and it’s not doing a very good job of it, because we’re how many years past a breakup of the former and a dissolution of the latter? Nobody should care anymore, but here I am, still talking about it. If somebody, maybe a psychiatrist, were to subject me to a word-association test, maybe in a psychiatrist’s office, and they led with “Athens,” I’d break into an immediate sweat and blurt, “R.E.M.! No, no Elephant 6! Why did you say ‘Athens’?!?” Then they’d stamp “Certified” on my case file like I was in a cartoon or something. \\NULL|ZØNE//, god bless ’em, is out to make sure I get a clean bill of mental health and never have to blurt “R.E.M.” again. The experimental label, run by the ineffable Michael Potter, is putting a different kind of Athens on the map, one that’s weird and eclectic and doesn’t sit still for anything. Probably smack in the middle of the U of GA campus (FUCK YOU BULLDOGS), \\NULL|ZØNE// exists to jam a musical middle finger right in the face every single jock-ass undergrad that strolls past Potter and his seething anger. Well, part of that’s true anyway – I’m doing a bit of projecting, you know, with my hatred of Georgia, and the University of Georgia, and the South, and everybody in the South…

Where’d I go there?

(Full disclosure: some Southerners are OK – I live in the South after all. I like R.E.M., too, and Olivia Tremor Control.)

 

DENDERA BLOODBATH – HUNGRY GHOSTS

I’m doing this one first because I’m cheating. It’s not really part of the batch that came out September 8, having preceded the other two tapes covered here by two weeks. But I live in a world where all three of these tapes arrived in my mailbox at the same time, and by golly they belong together! Verge Bliss (is that any real-er of a name than Dendera Bloodbath???) has crafted this really unusual noise tape where harsh blasts of distortion rub elbows with field recordings of gospel choirs and … well, that’s about it, actually. “Up Above My Head” is the track I’m talking about, the third one, and the recording melds with the power electronics and becomes the exact kind of incantation that will bring unholy ruin to Athens. I kid! Sort of. Bliss normally plays an autoharp, but “Hungry Ghosts” is a head trip of a different sort, lasering all sorts of frequencies through the headphones before coming out the other side a transformed heap of human life. See, HUNGRY GHOSTS is all about the Tibetan Book of the Dead, and somehow Bliss’s mediations on afterlife guidance are pretty helpful on the living side of existence. Not standoffish in the slightest, these sonics grab you and hug you … weirdly … yeah, weirdly, but still, it feels good to not be alone in death. Am I reading into that right? (Edition of 50.)

 

CAREY – OTHER PEOPLE

Proving that wonderful things truly are coming out of places I hate, Carey is Dan Carey Bailey, a composer and musician from Atlanta who… yuck, Atlanta. Sorry. You’ll be happy to note, then, that “Other People” is a forward-thinking folk/jazz masterpiece that could care the fuck less about Williams Street and that guy who does the Adult Swim music. Carey plays all the instruments on “Other People,” save for some cello (which is a nice addition, I must say), and in the process hits a one-man fusion sweet spot that probably should not exist outside of the confines of improvisation. The folk really shines through on “The Beauty in Failure,” a track the Books totally they wish they could get their mitts on to add samples to, while “On Being” is the solo piano joint that belongs on television and film soundtracks – not one soundtrack, but all of them. The rest plays as a musical approximation of famous film scenes, theatrical in its execution but insular and intimate nonetheless. Bailey’s work probably should be seen to be believed, meaning somebody’s gotta put some visuals to these tracks. Who’s on it? (Edition of 50.)

 

PHILIPP BÜCKLE / MICHAEL POTTER – SPLIT

And then of course there’s this one. Philipp Bückle’s sidelong meditation “The Never Got The Message” is yet another stab at cinematic ambient that manages to sink itself deep into the subconscious, burrow under the skin and overwhelm with its restraint. Tones and chords trace unexpected emotional pathways and manage to assert themselves long after they’ve completed, haunting the listener (little old me) from whatever plane of existence they’re really piping in from. Philipp – I’ve got the message. Then there’s Mr. Potter, whose “Garden Portal Almanac” I just totally freaked out over. “End Of Summer Music” is a good place to start as any, don’t you think? Potter hews totally to the ambient shoegaze spectrum, something that’s a nice Kranky counterpoint to “Garden Portal Almanac” and it’s ecstatic prog. Lonesome guitar never sounded so inviting, no matter how distant or alone it wants to be. Summer’s gone, gang, and Potter’s documenting it for us, plaintively, purposefully, running melancholy scales against the backdrop of chilling temperatures and pumpkining beverages. Am I a terrible person for not thinking that’s a bad thing? (The pumpkining – everybody should be OK with the guitar and the temps.) Get your hands on this one especially – the Jcard art is fabulous. (Edition of 75.)

The \\NULL|ZØNE// Bandcamp is where you wanna be to grab these, which is (thankfully) on the internet and not in… Athens.

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Tabs Out | Charles Barabé / Ratkiller – split

Charles Barabé / Ratkiller – split
10.9.17 by Mike Haley

charlesrat

Alright, alright… If I’m gonna be 101% honest with the four or five people that read my cassette reviews (hi, mom!) then I should start off this cassette review by stating that I 101% knew I would be reviewing this cassette the moment I laid my baby hazels on it. For the lazy-player’s run down on why, here are some quick bullet points…

Charles Barabé is a sound-genius.
Ratkiller is a consistent maniac.
Crash Symbols deliver the goods like one of those late-night munchies services that zoom Doritos and blunts to your door at 2:17 am.

Sooooo, the only way this pup was going to let me down would be if was accidentally dubbed over with dreamy bedroom pop or something. But even then, the artwork, with it’s Maurice Sendak having a bad week vibes, would get me by for days. Sooooo.

Luckily, the original audio was indeed left intact.

Barabé snaps into his side, “Avant​-​Garde Avorton Romantique,” like a rat trap, ironically. Channeling the brooding proclivity of dense soundtrack narratives, Chuck reassigns hunks of classical music and it’s kin into beyond epic sagas. As the timpani crashes with anger, reverberating around fever inducing cleaves of sound, you can almost smell gladiators prepping to do something raw and regrettable. The structure of it all is colossal, but also tangled by wormy synth sputters. A maze for your emotions to navigate. Over the last few years, with releases on labels such as Orange Milk, Tranquility Tapes, A Giant Fern, and many many more, Barabé has become less of a musician and more of a story teller. His techniques are basically copywrote. Stiff text-to-speech lines often reoccur to advance the plot. Perfected on his 2014 recording “Insultes (hommage à John Cage),” they are quickly heard here like HAL 9000 browsing a dating site while on the toilet. A syrupy “Communication is a huge thing for me. After a long day at work I just want to cuddle and watch TV and fall asleep” drains over a lethargic electronic rhythm. Everything stinks of confusion and suspicion and an uneasy joy. These elements under the steady hand of Barabé make it simple to close your eyes and drift into a previously non existent world.

I don’t remember where I initially heard Mihkel Kleis’ project Ratkiller. Maybe it was the “Cellar Dweller” tape on Rotifer? The point is I kept hearing Ratkiller because I knew it was the right thing to do. My instincts were confirmed by “Transrational Suite,” the name given to the five tracks on the flip side here. Kleis occupies the same real estate as Barabé – that is one where a whimsical jigsawing of romantic melodies takes place – but goes with a contrasting layout. On side A, where brick is exposed, Ratkiller hangs flowing tapestries. Where “Avant​-​Garde Avorton Romantique” glows high-watt neon bulbs, “Transrational Suite” relies on natural light to show off it’s slow-curved angles. But even with those soft color palettes and deep shag sounds, Ratkiller keeps peculiarity in mind. The track “An Attempted Dialogue Between Man and Fish” is a perfect example, where the normalcy and niceties of a guitar serenade are slowly leached by gurgling cloudiness.

Go grab a copy or two from Crash Symbols. And I’ll see you at Thanksgiving, mom!

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Endless Chasm – Dweller on the Threshold
10.6.17 by Ryan Masteller

Endless Chasm

You are NOT going to fuck with me, Endless Chasm! You and I both know that I’m obsessed with TWIN PEAKS, and the only reason I’m reviewing this is the connection of “Dweller on the Threshold” to that show. I mean, that’s not totally true I guess – I can dig your harsh ambient vibes coursing through my headphones. It WAS the entry point though, so it’s me and you and a copy of season 3 that I have to rewatch now once it hits home video formats (available December 5!). You guys watch it too? I’m going to have to slap on a big ol’ SPOILER ALERT right here then, because Endless Chasm is forcing me to indulge the worst impulses of my Twin Peaks fandom (once again) even though I know none of you can respond to me and so this is basically an exercise in frustration. Still, let’s roll with it.

Side A is “White Lodge” (there it is!), and no amount of Giants or Firemen or ????????? is going to provide a satisfactory answer to the nature of the supernatural location. And guess what? That’s OK. I’ve evolved as an ingester of pop culture to the point that I don’t need the answers – my philosophy suggests that the questions are what will drive me to be a better and more complete individual. But that still doesn’t mean I can’t speculate. And Endless Chasm explores the sonic architecture surrounding this this place that is situated on a different plane of existence, much like David Lynch has taken great care to build his scenes around audible cues. Anyone who’s witnessed episode 3.8 understands the great importance of the work of the White Lodge, yet its deliberate and elongated actions call for exactly this type of soundtrackery – compositional fortitude that doesn’t get in its own way.

There’s no “White Lodge” without “Black Lodge,” and although Badalamenti’s shuffly jazz is what has propelled scenes set there in the past, it’s much more terrifyingly appropriate with Endless Chasm’s minor-key drone hovering above the chevron floor. The nature of the Black Lodge has been teased, its origin suggested, but the mystery of the place remains, and the mystery of “Black Lodge” deepens the further into the track we get. Feedback and noise overpower the drone, and I’m one “Gotta light?” from flipping my lid and getting the hell out of here. It’s about now that I notice the distorted (forest?) image on the cover of this tape, and now I’m worried about vortices and convenience stores and garmonbozia when I should really be calling it a night and getting a little shuteye. But that ain’t happening. That ain’t happening with “Dweller on the Threshold” still occupying my attention. It looks like your work here is done, Endless Chasm – I’m a seething mess who can’t shake the feeling of “The Return,” and your tape is enabling my unhealthy obsession. Did you know that I’m a serial theory reader? Wanna hear my favorite? Episodes 3.17 and 3.18 are meant to be watched simultaneously! Holy Jesus Zaireeka Christ! It makes SO MUCH MORE SENSE that way.

Whatever the hell, I don’t know, buy this tape from This Ain’t Heaven Recording Concern, because why wouldn’t you at this point?

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