Tabs Out | Adderall Canyonly – Influenza 10

Adderall Canyonly – Influenza 10

7.15.19 by Ryan Masteller

Christmas punched me in the mouth waaay early this year, because it’s July and not December. (I know some of you do that “Christmas in July” thing, but it’s wrong, not to mention sinful.) But I woke up this morning and my tree was up (fake tree) and the decorations were hung and there was a single small present beneath the tree. I was in disbelief, and I had a split lip from the punch, but I decided to roll with it and approach this miracle as something that was truly meant to be. I approached the brightly wrapped package and took a look at the name on it. “The World,” it simply said. Who am I to disagree? I ripped it open.

To my complete non-surprise, it was a cassette tape. The size gave it away, plus I happen to do a bit of writing about cassettes, so there you go: non-surprise. What WAS surprising was the fact that said cassette tape contained an unreleased Adderall Canyonly album, and you know events like new Adderall Canyonly albums should be treated with the kind of respect you reserve for something like Christmas. AC moves in mysterious ways, and sometimes those ways include allowing material to gestate over a long period of time. Such is the case with “Influenza 10,” recorded in Portland, Oregon, in 2010 with a Tascam and a bunch of other likely obsolete electronics that have probably been sold for scrap at this point. That’s just the Adderall Canyonly way – all those electronics combine to form future wastescapes where robots have claimed Earth as their own and Snake Plissken can’t get off his island. Obsoleteness is not an obstacle.

And no, “Influenza 10” is not a re-release of some classic album on a weird anniversary – it’s not “remixed and remastered” but “finally mixed and finally mastered,” seeing the light of day after all these years. It bears all the delightful hallmarks of AC’s work: tortured electronics, ominous tones, queasy rhythms, and fractured viewpoints of futures dangerously close at hand. Did I say “delightful”? Yeah, I meant “delightful,” especially if you’re into stuff like “tortured electronics.”

So be vigilant: you too, like me, may wake up one day with a Christmas sock to the kisser at the wrong time of year; I bring you this warning as a public service announcement. Always be prepared! “Influenza 10” is out July 23 via Personal Archives in an edition of 50 (pro-duped, white shells/black imprint, 2-sided 3-panel j-card). Listen to “Floating Master” below to wet your whistle.

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Tabs Out | Episode #144

Új Bála - Diacritical Marks And Angels (Baba Vanga)
Seth Graham - Hint (Mondoj)
??? - ??? (???)
Spaghetti Blacc - split w/ Gamnad737 (Moontone / Blacc Ski Weekend)
Malk - WMAIDIT (Lost Tribe Sounds)
Darnell Little - theradiantchild. special edition (Bonding)
Ditto - Boojum (Cudighi)
Kösmonaut - Paragon (Rubber City Noise)
SAUCEMAN - Grids 1 compilation (Outlines)
Sophiaaaahjkl;8901 - Fiber​​-​​Optic Fur & 3D​​-​​Printed Bones (Suite 309)
Sad Magic - Herbal Séances (self released)
Mitchell W. Feldstein - Pretty Boss (Flag Day)
Tyresta - Always Ending (Otherwordly Mystics)

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Tabs Out | Co-habitant – s/t

Co-habitant – s/t

7.9.19 by Ryan Masteller

If we’re sure of anything, we’re sure that Chained Library is locked up tight for a reason. Even with its doors firmly closed, we can deduce, through “extra-library” research (internet), that there’s some kind of magic contained within the book-lined corridors. This Co-habitant tape is Exhibit A in the case against Chained Library, and we’re gonna have to get through it in order for me to convince you that we have to burn this sucker to the ground.

Co-habitant is I-don’t-know-who from I-don’t-know-where, and it doesn’t matter.  All you have to do is press play on the tape and you’re under an instant trance, totally susceptible to whatever your new master’s whims are. I’ve heard stories, stories that will totally freak you out, that witches use the repetitive loops contained herein to summon demons and ghouls and all sorts of frights to fan out over the land and terrorize the slumbering populace out of their slumber and into perpetual panic. It’s all here – it’s all in this tape.

Why don’t we check it out, see what all the fuss is about? Then you’ll understand. … See, those high pitches rustle through the trees like a foreboding wind, repeating, continuing until they’ve chilled you to the bone. Then the Carpenter worship – always the Carpenter worship! Can’t you hear the “Halloween” theme, but only restrained and just at the periphery of your consciousness? This is how it burrows into your mind and takes control of your soul. We could keep going, but you’d just get the vibe of an after-hours séance or a morality tale gone wrong or a mysterious light in the deepest part of the woods.

Yes: the minimal melodies are entrancing and the repetition sinks deep into your mind. It penetrates your consciousness. It remains there and moves you to do its bidding. Listen to it! You’re powerless to stop it. I’m powerless to stop it. In fact, I think we should just let this play, just let it play and leave old Chained Library alone. Yeah, that’s probably for the best in the end, don’t you think?

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Tabs Out | Bonus Episode: Ready? Cassette. Go! 2

Ian Franklin defends his title against Jamie Orlando in the second round of our classic cassette guessing game Ready? Cassette. Go!

Tapes by Goblintropp, Sarah Hennies, Ayatollah, Matt Bachmann, Rambutan, German Army, Whettman Chelmets, Soda Lite, and J. Soliday.

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Tabs Out | Karris Adams Duo – Nothing Stays Buried (La La La La)

Karris Adams Duo – Nothing Stays Buried (La La La La)

7.1.19 by Ryan Masteller

I don’t know why I’ve been inundated with scary things lately, but Personal Archives has sent me the Karris Adams Duo’s “Nothing Stays Buried (La La La La),” and now I’m all like, should I be afraid of zombies too? I don’t know if they’re quite as scary as ghosts (not as fast), but they look way grosser. Still, I’m not here to beat that dead horse (unless it’s chasing me); instead, I want to focus on the music, and if you’re unfamiliar with Personal Archives (I know you’re not unfamiliar, but bear with me), you should be ready for some wild and woolly (and wiggly!) improv. Here, Reid Karris (prepared guitars, “skatchbox on b2”) and Alexander Adams (drums) build worlds out of sonic tinker toys, creating bizarre and excellent scaffoldings that continue to increase in height and breadth until they’ve filled the studio space that they’re recording in (Hinsdale Underground Bunker Complex, which is a great place to hide from the undead). At least that’s how it’s working in my imagination.

Karris and Adams aren’t as bombastic or in-your-face a duo as Sex Funeral, Personal Archives honcho BBJr and Matthew Crowe’s outfit. But they’re certainly kindred spirits, with Karris’s guitar squiggling all over the rhythmic framework Adams provides. They don’t take themselves too seriously, which highlights their playfulness and creativity – in fact, it sounds like they’re having an amazing time recording together. Just look at some of these jokey track names: “Emerson Karris, Lake Street, and the Palmer House Hilton” (ELP jokes are not easy, and this one works!), “He Won’t Stop Thumping until You Leave Him Alone (For H)” (ew?), “Wiggle a Bit” (gladly!), and “Pop Song 312” (take THAT, R.E.M.!). Don’t you want to listen to those tunes, no matter what they are?

All this just goes to show how finger-on-the-pulse BBJr and Personal Archives is when it comes to live improv. Karris and Adams are a joy to listen to, and probably a joy to behold in a live setting. Why don’t you figure out how to make that happen, how to get off your couch and go check them out? I have no idea where you live, but if you’re like me, you’re probably always up for a road trip.

“C30 lavender shell hand-stamped cassettes, dutifully dubbed in Dubuque. Professionally printed two-sided j-card.” Only 40 available!

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Tabs Out | New Batch – Unifactor

New Batch – Unifactor

6.30.19 by Ryan Masteller

Well hey, everybody, thanks for showing up. They say the written word is dying, that it’s on its way out, but I’m here to discount that notion with some old-fashioned text on your screen that you’ll have to read with your eyes and comprehend with your brain. I’m not one to talk into a microphone and make jokes and trigger fart noises for an hour and a half to satisfy your every disgusting whim. I take my job as an investigator into the sonically artistic so seriously that you wouldn’t believe it if I told you how seriously. Trust me – it’s an intense calculation.

So you WILL take my word for it – or words – literally – because you have chosen to read about the tenth batch of tapes from hardcore Cleveland label Unifactor. Don’t misread – Unifactor isn’t releasing hardcore tapes. They – and by they, I mean Jayson Gerycz, purveyor and sonically artistic (hey!) guru behind the label – are simply hardcore, meaning intense and serious, about releasing what they release, and these new ones are no exception. So strap in, friendly neighborhood audience, and listen to my tale of woe and regret in relation to these three missives from the passionate jaws of expression. Or tales of joy, maybe, who knows.


This is all bowed upright bass and harp. Not kidding. You don’t kid around about that sort of intense and serious minimalism, not while there’s tones to discover. The duo takes their time occupying the space they share, letting the vibrations of the two instruments mingle in the room, in the atmosphere, filling that space, creating more space, expanding the walls of the room, and the ceiling too, and the floor, everything bowing outward along with the sounds their bows are making. It’s like they’re making their own pocket universe here in “Nowhere,” which turns out to be actual nowhere, a swirling vortex of vibrating strings and clouds of rosin dust. It is birthed from the frequencies of the molecules that Donovan and Kasten-Krause are agitating all up in this piece, the friction and force becoming sonically resonant and decipherable by the human ear. Got all that?


I’ve covered Marie e le Rose’s work before, as MonoLogue, in fact, right here on Tabs Out. And now she’s back as Moon RA with “mUSICA iN dIFFERENT iNUTILI sERVICES Vol. 1,” a trance- … er, trans-Europe excursion through the influence of “Tangerine Dream, Nono, Kraftwerk, Webern, and other electronic pioneers.” And, like me, Moon RA was transfixed by what she found. Honestly, I could listen to music inspired by all these artists (even “other electronic pioneers”) until you came in the room and ripped the headphones from my cold, dead ears, or even until I realized that I needed food and exercise and sunlight to live and took the headphones off myself for survival purposes, the zones are just that deep. Moon RA’s got the touch, the golden touch, twiddling the golden knobs and teasing out the golden tones from solid gold synthesizers. She turns your mind into a planetarium and puts on a laser light show that slowly and surely builds in intensity until it’s bursting out your eyes as if your eyes were the projector onto the screen of the universe, and you could share that laser light show of wonder and awe with all the people of the world, and everybody would just be like, “What were we fighting about, anyway?” That’s how “mUSICA iN dIFFERENT iNUTILI sERVICES Vol. 1” works – it’s insidious.


Arian Shafiee zones to a different vibe, this one light years ahead, behind, beside, in addition to the vibe you’re tripping to in the present tense. So switch over, quick, to opt in to future sounds of “Arabic Voice,” a deconstruction of a cappella Arabic music run through every technological permutation Shafiee could imagine before ICE came for his loop station (not in country legally) and his Garageband license (not valid form of ID). The erstwhile Guerilla Toss geetar slinger discovered the inspiration for this record in the form of the local bodega’s PA emanations and a YouTube playlist pointed out to him by said bodega proprietor, and he sampled and mangled the holy bejeezus out of all that stuff. The result is a processed extraterrestrial head trip of indeterminate origin, an Orange Milk release that somehow slipped through the label’s cracks and ended up on Unifactor. That’s outstanding work if you ask me, and outstanding reporting on it, if you also ask me.

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Tabs Out | Mousecop – CAVEFTW

Mousecop – CAVEFTW

6.26.19 by Ryan Masteller

Super confusing here, Mousecop, thanks! Btw, is this you?

I’m sure you never get tired of that joke, so I’ll just leave that there.

This is super confusing, because “ftw,” as everyone knows, means “for the win” in urban computer slang, not “fare thee well” as Mousecop would have you believe. Also, I was like, “Did CAVE break up? Bummer!” Turns out the Drag City krautrockers are alive and well, thank god, but no thanks to Mousecop for freaking me out about nothing. I’m still getting over it.

So CAVE actually stands for “Center for Audio/Visual Exploration,” an Akron, Ohio, venue run by Rubber City Noise that shut down in 2014. Mousecop recorded “CAVEFTW” there right before it closed its doors. So … there’s actually kind of an emotional connection to be made over these two long tracks if you let them infiltrate your cold dead heart. (Just because you’re Akron’s answer to the Grinch and you wanted to buy up all the real estate and gentrify the area and kick the kids out for good doesn’t mean you can’t change. It just means it’ll take a long TIME for you to change.)

So Mousecop’s actually a duo (unless the “former Mousecop” up there is somehow a combination of two people, I think I got their identity wrong at first – see, confusing!) made up of RCN alums Joshua Maxon Novak and J. Curtis Brown Jr., and their live performance captured to this very tape is at once haunting and squeamish, a collab cooked too long in a witch’s cauldron. It bubbles over and crusts the sides of the crockery, filling cracks in the stoneware and scoring the bottom of the pot. And that’s what RCN is all about: letting Mousecops be Mousecops, allowing their strange concoctions to fill the ears and the airwaves and the magnetic tapes, to give misfits like Novak and Brown a chance to spread their creative wings and fly as close to the sun as they want, disintegration be damned. And that’s what “CAVEFTW” sort of is – music disintegrated by the sun.

Finally released on tape at the tail end of 2018, “CAVEFTW” is still available from Rubber City Noise (edition of 50).

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Tabs Out | Episode #143

supercandy - split w/ somesurprises (Crash Symbols)
Kudler​/​Gerycz - Kapteyn B (Dove Cove)
Squelcher - Seven Shooter (Moon Villain)
Brin - Loose Leaf (Leaving Records)
Repulsar - At Remer (Stucco)
Mossy Throats - split w/ Chefkirk (Moon Myst Music)
Soom - Ніч на полонині (Freak Friendly DIY)
Kitty Wang - Filter_Romp_v1.4 (Tone Burst)
Jak3 - Earth Four (Origin Peoples)
Tim Heidecker - What The Brokenhearted Do​.​.​. (Jagjaguwar)
Atariame - Voiceless (Not Not Fun)
Persona La Ave - Themes from a Window (Illuminated Paths)

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Tabs Out | Marsha Fisher – Chain Whisperer

Marsha Fisher – Chain Whisperer

6.21.19 by Ryan Masteller

Oh, god no! I thought that Will Guthrie tape I just wrote about was freaky, with the ghost drums, but Marsha Fisher’s got that one topped, like big time, with “Chain Whisperer.” I mean, look at the front of this thing! It’s the ACTUAL grim reaper on the cover! Also, it’s on Gay Hippie Vampire, and I don’t care if you’re gay or a hippie, you get away from me if you’re a vampire! I don’t know about you, but I’m gonna head for the nearest Catholic church and hide behind the font of holy water for a while.

But first, maybe I should give this thing a chance, just in case it has some redeeming qualities that I’m unable to discern at first glance. [Presses play] No, no, this is still scary. Those distorted synth tones belong in a haunted house, not in my house, and certainly not in this church. “Claws Against the Floorboards” grinds tensely for ten entire minutes, each shuddering deathstroke a reminder to check those milk cartons for Stephen O’Malley, because I think Fisher’s got Sunn O))) trapped in the basement. Fisher’s radiating noise peters out by the time “The Light from Behind the Gravestone” creeps itself from somewhere deep in the cemetery, keeping to itself with its quiet tones of mystery. But then of course the main(ish) event: the title track! “Chain Whisperer” doesn’t come subtly; “Chain Whisperer” drags that heavy chain across the expanse of the warehouse from which you cannot escape. “Chain Whisperer” is a demon bent on destruction. “Chain Whisperer” is bent on YOUR destruction.

“Home-dubbed cassette in lo-fi. Each j-card suffers more and more deterioration of color as the toner cartridge in our printer dies.” Disintegration tapes! Somewhere Basinski’s ears are burning.

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Tab Out | Will Guthrie – Some Nasty

Will Guthrie – Some Nasty

6.15.19 by Ryan Masteller

Will Guthrie is probably haunted by a ghost drum kit that follows him around on a noncorporeal plane, playing itself at the most inopportune moments and freaking Will out. It won’t let him sleep, either, which is a whole other story, but let’s just say that the restless nights surely take a toll on Will’s constitution throughout the day, also making the ghost drum kit seem more real even then. It’s enough to drive a rational person mad.

“Some Nasty” pairs Guthrie with Hasana Editions, the tape label based in Bandung, Indonesia. “Some Nasty” also pairs Guthrie with the madness that’s slowly overtaking him, and Hasana has given the France-based Australian an outlet for him to turn that madness into creative expression. Nice one, then, Hasana Editions! Guthrie spreads his percussive acumen over two long tracks, one per side, like drum-based jelly on a biscuit. Among the activity we have a propulsive John McEntire–inflected breakdown, a creepy spoken-word bit, an ambient pullback, more creepiness, but this time like horror-movie creepy, and then some full-kit work, which devolves into more restrained tiptoeing, like there’s someone trying not to arouse the attention of a certain watchful poltergeist.

Through it all, we ride (get it, there are “ride” cymbals) with Guthrie through down the halls of his mind on a crazy motor scooter hell-bent on knocking over furniture as it goes. Nothing remains as it is for long, as if the mind can’t settle itself on one path forward. It’s constantly moving, constantly shifting, and Guthrie’s constantly looking over his shoulder, changing it up, having visions, not sleeping, falling asleep at the wheel of the motor scooter, and we’re all just riding pinion and shrieking along with him.

Ghosts are scary, especially drums!

Only seven remain of the original 100-tape release, so get on over to Hasana Editions now, before it’s too late!

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