Tabs Out | Arthur Russell – Sketches for World of Echo: June 25, 1984 Live at Ei

Arthur Russell –Sketches for World of Echo: June 25, 1984 Live at Ei

6.25.21 by Matty McPherson

I’ve been here for a year now, so pull up a chair and listen closely when I say that there’s an uncanny kinship between Mark Hollis’ self-titled, Panda Bear’s Young Prayer, and Arthur Russell’s World of Echo. Maybe, if you have heard any of these three albums before you noted those ways each split their acoustics between a wake service and a land beyond here. Gospel music… well, really spiritual music to keep things more general… defined by death and presented by way of hermitude. In my eyes, it constitutes a trilogy of sorts.

For all three artists, their epitaphical albums strike at strange moments. Young Prayer was released right as Animal Collective began a 5 album masterstroke including PB’s euphoric Person Pitch, an album literally overflowing with life; he recorded it in the room where his father died. Mark Hollis fulfilled a contractual obligation akin to a seven year itch, the final statement from a recluse that found a way to flatline any of Talk Talk’s grandeur to its sparsest. World of Echo was the only LP length Russell could actually release before dying of HIV/AIDS complications in 1992. Few albums walk that fine of a line, constructing epitaphic qualities with such grace and intimacy. It’s also all a non-tape trilogy, unfortunately.

Last November though, Audika Records shook up their usual practice, in the process . The label’s 17 years of Arthur Russell estate crate digging has never resulted in either a live performance or cassette release. That is until Sketches For World Of Echo: June 25, 1984 Live At Ei arrived subtly like a message in a bottle last November, killing two birds with one stone. If it sounds like a bootleg that’s too good to be true, then you must be out of your mind! 

In 1986, it was incredibly difficult to extrapolate just what the hell World of Echo sounds like. The album’s deceptive DIY set-up (one 18th century cello, a drum machine, a few effect pedals, and an inscrutable, fleeting voice) share similarities with Rough Trade labelmate Beat Happening at their most abrasive. Although to be fair, both artists were chasing after their own pop fantasies. Nowadays, this outsider pop feels both like a foreshadow of limitless ideas found across a spectrum of tape labels. Sketches for World of Echo thus, functions as crucial context to this novel plane of music. 

Like any good Arthur Russell reissue, it leaves you with a burst of queries to consider, as well as another round of unanswered inquisitions to follow through your own rabbit holes. For, on that June 1984 night, the idea of a World of Echo was coming off of one already aborted album (Corn); this performance carries with it the rollicking feeling of an open invitation, as Russell seeks to explore any and all conceptions of what this set-up could mend itself towards. Thus, the tracklist of this concert tape is legitimately brimming in a most serendipitous manner. On one hand are unreleased compositions that are welcome discoveries, such as the Side A opener “Churning Forest”. Here, Russell carves and cuts away with his glacial cello drone, until the monolithic sound is but a graceful hum. As a thirteen minute opener goes, it has all the sound of fireflies and a night at the swimming hole, a crystalline zone returned to the (previously unreleased) Side B closer, “Sunlit Water”.

On the other hand are sketches of tracks to come. “Let’s Go Swimming,” appears as a 6 minute pop voyage that duets between Russell’s falsetto and the brushing of strings against his cello, as “I Take This Time” turns up on Side B as a two minute murmury ballad; both tracks are the only songs to later appear on World of Echo and even on those renditions they feel elastic and open ended. For on the third hand, Russell performs a series of “Echo-ified” variants of tracks caught in a perpetual flux post-Corn. If you know your Russell, then hearing these cuts are bonafide treats. Case in point: “Make 1, 2” appears out of electroclash form, recalibrated into a spiky noise machine that bounces and twists as Russell’s falsetto (and adorable murmur) could sounds less concerned–after all, “he ain’t got no number”. Meanwhile, “They and Their Friends” appears even more “unintelligible,” its wall of sheer noise acting as an inscrutable deterrent towards others.

Yet, the Russell composition I have seemed to be most enamored with in the past half year has to be “Keeping Up.” The Another Thought variant was the only available version for decades, with its two voice melody and cello patterns enacting trance; for many, it may be the definitive take. Yet, Corn unveiled a chipper electropop squeaker that Russell is recalculating by the time of the Sketches concert. His cello playing is still featherweight, as his amp’s glistening feedback recedes. Focused around tantalizingly fleet chord movements that you could sail with, the emphasis then falls towards his simple, yet potent mantra, where his falsetto soars and glistens. When Russell comes close to the microphone and states, “You like it when they look at you; you like it when they can’t catch you…” a boundary collapses. Vocally, it’s not a departure from his “hushed yet serendipitous” style of delivery he excels at across the concert; yet, that lyric delivered in this manner seems to cut through the last 37 years of time. It felt like it could be meant for me, or anyone really; at the core of this song, amongst this concert is a boundless empathy. It was just decades beyond what he nor anyone who was coughing at the Ei could have realized. 

“Unlimited print edition” according to discogs user Knutboy, aka Scott Knutson of Audika Records, at the Arthur Russell bandcamp page. Go crazy!

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Tabs Out | Cassilda and Carcosa – Tubes, Transformers, Transistors, & Tap

Cassilda and Carcosa – Tubes, Transformers, Transistors, & Tape

6.15.21 by Matty McPherson

Cassilda and Carcosa’ Tubes, Transformers, Transistors, & Tape was given a digital release about a half a sun-cycle ago, before a tape reissue last March. Coming out of Ingrown Records’ March batch you wouldn’t expect to find an IDM and techno affair. Especially not one that seamlessly blends naturalistic drums and synths like its Ki Oni but for the bustle of Brooklyn. And yet, here we are with a sound jam that keeps razor sharp focus.

The artist left a note that revealed only that the eight pieces concocted were a DAWless affair. They work all day with computers and wanted to “get as far away” (In case you are a bit out of the loop about what DAWless entails, this helpful guide explains what it looks like and its origins). C&C’s zones, especially with names like “fm_acid_func” and “No Masks?!” are exploratory, like you just stumbled into the quarantine concert. Tracks thrillingly unfold and build up new patterns under poppin, fizzy synths. While the first side emphasizes how these elements electroclash against wicked drum composers, side B invokes more synth zones. The 8 minute closer, “Cloud Waves,” practically dives into the sound of the crevices of sunlight from under a childhood bed.

Copies available from Ingrown.

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Tabs Out | Various Artists – Gentle Bells: Celebrating Ten Years of Personal Archives

Various Artists – Gentle Bells: Celebrating Ten Years of Personal Archives

6.14.21 by Ryan Masteller

OK, you guys all ready? Decorations are up, we gotta fridge full of beer, and the gifts are stacked neatly on the table in the corner. Great! Now, everybody, HIDE! Find a good place so that Bob doesn’t see you the moment he walks in the door. I want to make sure he can turn on the light first and kind of get that “Wha …?” look on his face before we all jump out and shout “Surprise!” You know the look – yeah, that one, Curt Oren, you do it perfectly! Thanks for bringing your skronky sax – we’ll let you play it.

Sam Gas Can, get down behind the counter, we can see too much of you! This is going to be so fun – Bob Bucko Jr., purveyor of Personal Archives, is celebrating the tenth anniversary of the label, and so a bunch of his favorite friends and collaborators have come together to fete him. But to really make the event special, we’re going to surprise him, then let everybody record something for a special tenth anniversary tape (let’s call it … “Gentle Bells”! Yeah, that’ll do), then we’re going to donate all the proceeds to the National Alliance on Mental Illness and the Pancreatic Cancer Action Network. See? REALLY special. 

That’s why Healthy Realism is here, ripping horns and drums. That’s why Mustard-In-Law is standing over there looking like an enormous yellow candle, dripping with his favorite condiment. That’s why Fritz Pape is rocking orchestral synth space music, because you have to have a COUNTERpoint to all the weirdos with saxes. (Sure, we’ll let BBJr. do his own thing by the end of this tape.) But there’s Container, more sax, but with noise rock! And how do you have a party for Personal Archives, for Bob, without Sex Funeral partner Matthew Crowe? You can’t, that’s how. He does an untitled drum track.

Now if Ben Ricketts, Daniel Ryan, and Painted Faces can stop jostling around in the bathroom and keep it down, we can let Kathy’s Special Brownies do their thing … which is pipe in frequencies from the ghost of a radio. A perfect anticipation track! Wait, I just heard a car door slam – is that Bob’s Subaru? OK, places, everyone! Spare Ribs, you can’t just hide behind your electric guitar, he’ll see you there! Try behind the arm of the La-Z-Boy. He’s unlocking the door, it’s almost time! OK, on three, two, one …

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Tabs Out | Machine Listener – Headfooter

Machine Listener – Headfooter

6.10.21 by Matty McPherson

Matthew Gallagher spent 2020 (with a loan exception) outside of Machine Listener tape works. They could be spotted with Luke Gallagher channeling energy into Phaeton’s meditative splash of a tape in November, Biome (Oxtail Recordings). So, it struck with great wonder that Headfooter came with a force at the dawn of the new year. It may have slid under your radar? A low-run Unifactor batch meant it got out into hands QUICK. Way back when I first gave it a shout, I had anticipated something akin to 90’s Warp IDM at 90% off Discogs prices… But that is not exactly the case anymore.

On first go, Gallagher goes deep into noise thrash that damn near clears the house: Machine Listener is back. Suddenly, the tape has gone into the high-propulsive drums, catatonic shock synths, and slither bass of the title track. It’s an addictive energy that “Vechdra (ft. Shokni Mask)” and “The Sun (ft. The Debt Collector)” tap into. They’ve become go-to sounds anytime I’m running Half Life 2 speedruns*. Perfect rhythms to the rumblings of City 17 going on lockdown. It could totally cruise on another 20 minutes of this easy. It seems like Machine Listener had been feeding a bit of that Phaeton energy into the system. 

Mineral Wells is all komische layers going into headphase territories, opening up into the cosmic highway with textures as crystalized as Gallagher’s previous art for the label. Paced as the opener of the B side, it could be the “head” to side A’s “footer.” It’s a space that invokes the communal, as Gallagher summons back Luke with Martha and Roger Gallagher for “Fuzzy Haggis of the Stars,” a soul-soothing lullaby.

*I do not speedrun but I love those videos

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Tabs Out | Lester Grovington – Holding Lines

Lester Grovington – Holding Lines

6.2.21 by Matty McPherson

Let’s keep things brief, my water is about to boil, as Lester Grovington doesn’t really do that. The Michigan-area sound finagler recently returned with a new C-30 on Flophouse entitled Holding Lines. Information is scant, but the tape’s wicked hand-paper design and dubbing is enough to hold me from getting prickly over what I know and don’t know.

For example, I don’t know what pedals, whispers, or various other doo-dahs Mr. Grovington has acquired and reformatted into a vast soundscape of reverb stretching out to the horizon line. I just know that as soon as “Yessing” starts its buildup, I’m suddenly moonlighting as a storm chaser, heading straight towards a propulsive tornado knocking over all the drums and chimes. That it invokes the time I’ve spent with my CDs of the Constellation Records roster (circa 2000-2005) I could only yap “hip hip hooray!” Yet, by the time that opening track’s uncanny energy spike has rested, I find myself back down on the water with “Augury Carousel.” It’s a piece that soothes like steam from that sauna (that the security guard won’t let you sneak into). It sounds realized on the spot, yet each echo or boom blast is too-well timed not to be planned. Can I be certain of that? Look, my water just boiled and I gotta flip to side B.

Alright, now I’m halfway through a Jasmine Pearl, and suddenly I’ve started to understand Grovington’s mannerisms! Wait – oh no. “Experienced Rider” opens side B like a space pod coming out of its droning orbit. Moving in its space like a one-thousand-yard stare it prepares for a swift water landing, with each drum beat, tonal drone layer, and subliminal sound effect building its orbit into… an electrifying club-adjacent crescendo banger! Try mixing the back-half of this snack into your DJ mix! Levington closes with “Life’s a Gas,” a salt-water sea dive that scans and transforms the whole tape into a chill-out zone that terraforms your body into its natural gaseous state. In fact, I don’t really know how I’m typing this!

So, from the heights of space to the fathomless depths of the oceans, Grovington has led me down a stupendous adventure. Somewhere between the four tracks and their drone-crashes and dance-crescendos, lies a pretty devious quickform journey that is well worthy of coppin’.

Edition of 37 from FLOPHOUSE

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Tabs Out | Episode #168

Keith Rankin pops in to discuss the undeniable sexual tension of his new Giant Claw recording.

Giant Claw - Mirror Guide (Orange Milk)
Portal - Seepia (Darkness Attacks)
Repulsar - Fungal Hallucinogens Send Cicadas on Sex Binges After Their Genitals Fall Off (Stucco)
Duro Double Life - Psyched for the Yin-Yang (Haord)
Cacero Lazo - love in the time of lowercase (Strategic Tape Reserve)
Zac Davis - The Land Of The Sinking Sand (The Gift Of Music)
Torben Ulrich & Lori Goldston - Oakland Moments (Obscure & Terrible)
Jonathan Snipes - Mope (Deathbomb Arc)
Umbra & sZARSz - split (Crash Symbols)
Les Filles de Illighadad - s/t (Sahel Sounds)
Compactor ‎– Hold Music (Waste Management)

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Tabs Out | Full Spectrum Roundup

Full Spectrum Roundup

5.25.21 by Matty McPherson

Full Spectrum is an outstanding label. 
Anyone who thinks otherwise has gravy for brains.”

– Mike Haley, founder and CEO of Tabs Out

Last winter Full Spectrum Records entered into a hot streak of monthly cassette wonders. Andrew Weathers’ omnivorous, yet nurturing ear has provided a space for dispatches that go beyond normal transmission zones. This indeed makes it effectively impossible to have gravy for brains if you listen to just mere milliseconds of their releases! But what is the secret to this anti-gravy brain science at the Littlefield, Texas laboratory? I put three to the Nak’ to find out.

claire rousay and more eaze / Wind Tide – split

In summer 2020, local legends claire rousay and more eaze (mari maurice) decided to register a “chaotic neutral” Bandcamp label known as “New Computer Girls Ltd” on Bandcamp dot com. By November 2020, they brokered a deal that finally brought emo-ambient into “pink cassette shells and etched Norelco cases” across the nation. On Full Spectrum’s first split since FS 005 in 2k9, rousay and more eaze’s “she’s literally fine” find the two meeting Weathers and Gretchen Korsmo’s Wind Tide as true kindred parallels. Starting backwards, the latter’s “Room Tone Piece” is a crackly kind of room experiment. The idea of making noise around the studio is always going to provide its own deductive kinds of wonders, but the two’s choice “dulcet tones of bubble wrap, claves, tape noise, dropped glass beads…” is cavernous. It recalled the time I saw a street art exhibition that included a piece of a trash can shaking without end, lost within its own rhythm. A blessing for the studio.

The TikTok subgenre (likely of another subgenre) that claire and more eaze’s piece take their name from is beyond me (it’s a top seed TikTok subgenre though). Thus, I turned to a 2019 concert (you can find it on YouTube), which presented a sketch of where their collaborative heads were at the time. And on one level, it does continue their impeccable work as kindred collaborators crafting particular glistening sounds — each little water bubble or electronic click is applied. “she’s literally fine” is noticeably lighter than the full volume of that concert. However, on a full sound system, the delicacy of their musique concrète is like receiving a live, buzzing invitation. When it uncurls to reveal an ambient autotune nugget, the piece feels prophetic of the directions both have been traversed on their own records released this spring. That the piece still continues for a final third, with a most patient breath and footstep mutter, imparts its own light afterglow.

Mira Martin-Gray – Stick Control for the Air Drummer

Mira Martin-Gray’s Stick Control for the Air Drummer is her first release in two years, having moved away from performance as the result of chronic pain ailments. If the cover’s homage to George Lawrence Stone’s drummer bible, “Stick Control for the Snare Drummer” is any indication, then this is indeed a drumming tape. Of only the highest conceptual and cybernetic order though! Taking patterns from Stone’s book, Martin-Gray deduces out percussive deconstructions. As written on the Bandcamp:

“She began by copying a few of her favorite exercises to MIDI and used these sequences to trigger a series of tuned 808 samples, which were then beamed directly at a lone snare drum. A preparation would be made to the snare wires themselves – either a small steel ball, a pinback button or a pair of earrings – which would exert just enough pressure to allow sympathetic resonance…”.

With a brass stomp and a clear, rustling drone produced from within these minimal strings, Martin-Gray reimagines the role and process of a drummer. This process is far from the rickety pitter-patter that it drops immediately into; letting yourself be entrenched and moved to its rhythm is crucial. Wonderfully, the objects chosen to function as snare wires exert tonal sounds not too far removed from a novel strand of industrial drone pop, humming in a perpetual ebb and flow. Even when operating in the latter half of the cassette as “Combination in 3/8″ that emphasize cackling, chirpy feedback, Martin-Gray’s sounds are full-bodied and nocturnal, a unique revelry that renews the purpose and potential of drumming. And do not sleep on the liner notes–important pieces of geographical, personal, and object context.

Lucy Liyou – Practice

Like the other tapes mentioned, Practice is an insistent, full album listen This is the lone 2021 release I’ve opted to cover here. Information on Liyou may be limited (and they have described themselves as quite new), there is no doubt that they have a vision and idea of storytelling that is missing on Full Spectrum. Also, they have recently finalized another non-tape piece of work that continues to talk about Asian American experiences in a hybrid, confrontational format.

Most tapes on the label do not adhere to a story or script, but for Liyou, Korean folk opera and the concept of “Han” became frameworks for a most personal tape. Practice was written as “Liyou’s mother was required to wait in Korean quarantine before they could be released to care for the family’s ailing grandmother,” although its tale is much more internalized, and the way it is delivered feels akin to interacting with a Commodore 64 text adventure. It may require a couple listens to ingrain every quip or moment; kudos to the tape booklet that reproduces the dialogue in a stylistic manner that mediates where sound cannot.

While Liyou has trained with piano, the emphasis in Practice sees more synth zones and further refinement with text-to-speech savant Microsoft Mary. Liyou finds ample space and brevity to pitchfuck the latter, going beyond just a vessel for themselves into their whole family–even becoming a PA system with a little reverb. For Liyou, it becomes a welcome element that allows the family tape audio drama to function between two modes: relaxing piano/synth instrumentals that function like aperitifs and text-to-speech industrial clashes that literally terraform memories.

Without completely understanding why, Practice reminds me of Japan’s Ghosts. It was a pop ballad that reckoned with the suddenness of the past coming back, “wilder than before”, emphasizing radiophonic synths over percussion. Stripped of artifice (on an album that oozed and reveled within it), it noted patient, suggestive storytelling. With suggestive dialogue and its page-turner pacing, Liyou ‘s Practice invokes itself a a hyperrealist, spiritual successor.  Pushed against these instrumentals, the stakes of Practice’s world feel much larger than the words on this 100 tape run or home-recording can quite imply.

Nothing else quite sounds like a sledgehammer to every notion of storytelling this year.

Taken as a snapshot of the state of Full Spectrum’s output, and I keep coming back to the singularity of each of these tapes. From aesthetics to regionality; in approaches to percussion or emphasis on detail and emotion. Indeed, Full Spectrum is still a vital hub for a corner of unclassifiable, unfuckwithable magic. And even if represses are once in blue moon, at least I take solace in knowing that Andrew Weathers’ has a 100 minute musique concrète piece lined up. All Tauruses really do have an open ear, I can attest.


  • FS099 – Gretchen Korsmo – Tote Bag (Tote Bag)
  • FS100 – Tender Crust – FS100 (Digital)
  • FS103 – Felidae – PONIIA (Cassette)
  • FS104 – Andrew Weathers – Catalogs (Cassette)

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Tabs Out | Eternity Hotline – Super Glue

Eternity Hotline – Super Glue

5.21.21 by Matty McPherson

We turn our attention to Sacramento, CA, where upstart label Outer Grid (twice voted “newest label in Sacramento”) has gifted the world a new 6-track smash n’ dash from Eternity Hotline (aka Michael RJ Saalman), entitled Super Glue. Saalman had been spending 2020 home recording as an act of solace. Through Macbook failures and analog salvation (just scope the gear on his previous pieces), Saalman quickly landed on a primordial plan of kraut electronics that wouldn’t feel too out of place at the local coldwave club circa 1983. 

Super Glue is the third in this string of release and moves the club pulses and twinklery to 2023. Even with a title that implies viscosity, this is by no means sticky, icky, nor loopy. “Diamond Psilocybin” opens as a toe-turner, revealing Eternity Hotline’s adherence to the percussive quips and bass beats of his previous releases, but now with the added bonus of being beamed out of this dimension and through the phone lines of an alien outernet. That he was able to even pick them up and rearrange it into these six Ableton deconstructions is its own treat! As a result, tracks like “Jason Christ” hit vivid, dizzying speeds, while “Moon Legs” provides what could be a tangible sound for when you run a C loop without a proper eject sequence!

Edition of 30 from Outer Grid Bandcamp

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Tabs Out | Phicus – Liquid

Phicus – Liquid

5.14.21 by Matty McPherson

Last year, double bassist (and occasional Dirty Projectors card carrying member) Nat Baldwin released Autonomia, a trilogy of bass improvisations spread across three labels. The trilogy capper, Endnotes, also happened to signify the inaugural release in Baldwin’s new tape label, TripTicksTapes, stationed out of Portland, ME. Now granted, Portland, ME seems to be grabbing a smidgen of attention for its metal scene. But free jazz? In this economy?! Well, Baldwin’s TTT thinks both can coexist. While I’m eager to see what Baldwin does for jazz in Northeastern America, already he’s summoned saxophone spiritualist Patrick Shiroishi with Resting in the Heart of Green Shade and a new adventure from Phicus, entitled Liquid — the emphasis of today’s focus.

The trio known as Phicus made a nifty splash on Astral Spirits last year, with Solid, an album that turned jazz into sludgy, hardcore noise freakouts. So, how about another round of kick-punch free jazz ditties? “Not so fast!” Phicus retorts, “for every loud and aggressive impulse there’s an instinct that leads back to the more meditative and static territories.” Thus arrived Liquid, a cohesive 38 minute live-improvisation (“Hg”) from the same April 2019 sessions that produced Solid. “A ying for every yang.” Indeed so.

Phicus in meditative mode across “Hg” still raises hairs. You wonder if Ferran Fages’ sustained guitar tone is actually about to blow out, as it circles over Vasco Trilla’s wind chimes. Or, if Trilla is actually using these percussive blasts to subliminally signal to double bassist Àlex Reviriego to break his fickle-yet-tense composure. Of course though, none of this happens. Phicus hold an orderly (if not unnerving) court; each parcel of silence is an invitation further down the spiral. As the tape continues, the trio becomes increasingly interlocked, culminating in a gorgeous, sustained outro of Fages’ stray guitar notes and the most minimal pitter-patter Trilla can concoct. To sleep to this music, you’d have to be insane. Yet, to ponder over the photonegative qualities of this album for 40-odd minutes? An absolute joy! Wait, did I flip those two around?

Sonically, two things popped into my mind as I thought about the tape. Firstly, is Astral Spirits alum Like Stewart, whose approach to improvisation has revealed a deft understanding of how easy it can be to navigate improv with a degree of zen (a la Works for Upright Bass and Amplifier) and still discombobulate it all into revolutionary noise explored within Blacks’ Myths. With Liquid, Phicus have revealed they are fellow travelers and seek to navigate that range. Now though, this meditative range Phicus toys within is maybe not as revolutionary inspired; it kinda recalls C. Lavender’s zones of deep listening. The way she tackles noise by taking it apart into wave after wave of a sound bath ain’t too far removed from Liquid. Thus now, I’m left to wonder what the gas state will do for Phicus…

Edition of 100 Tapes available from TripTicksTapes

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Tabs Out | Introducing Mended Dreams

Introducing Mended Dreams

5.5.21 by Matty McPherson

At this point, I don’t really know what Claire Rousay is gonna announce. After getting “emo-ambient” into the paper of record, she could literally reveal that we’re all on a plane hovering above the Bermuda Triangle or introduce us to her new line of barrel-aged Mexican lagers and I’d believe her! Fortunately though, Rousay has chosen a more enlightened path, announcing a new imprint nestled in the American Dreams multiverse entitled Mended Dreams (it even has its own HQ!)

What I do know is that it’s not everyday that you just suddenly decide to strike up your own label imprint for the second time in under a year. And Rousay is going hog wild, with a flush 3.5 hours of music to hit the Bandcamp this 5/7 (Bandcamp day). Out of the 3.5 hours of music hitting, Rousay has been kind enough to reserve a hefty chunk for the cassette format — her first releases on the format proper since December’s on Notice Recording! And these aren’t any reissuing of recent material — brand new zones chalk full of brand new art.

Claire Rousay – Twin Bed EP

Back in March, Rousay participated in Tone Glow’s live concert, lending a new audio/visual composition entitled Twin Bed. Even through the text and scroll of a Twitch chat, something must have been in the air when it transmitted through the internet as everyone sat struck. Through its 11 and a half minutes, Rousay’s typical haptic shabang become only a layer within her one-person piano slowcore-orchestration. It’s a heady piece, letting its length uncurl. I recommend it as you prep and take in the longest bowl of your life. This release is being issued here with a few other new tracks recorded throughout 2020.

Claire Rousay & Patrick Shiroishi – Now Am Found

It’s not hard to spot Patrick Shiroishi in my Bandcamp email feed as much as the Twitch chat using all caps to hype up Japanese whiskey. The local LA gentleman has been transmitting his essential sax sound and ethos on every cool cat’s project — seriously, do I need to stand up on the local mountain with my new yard sign that features Brad Rose’s tweet?

Last year, Patrick went for broke on (holy alone), his first major batch of field recordings for Never Content Records. For as much as it was a personal pandemic tape, it transcended space and time, transporting me back to a centrifugal space of the late 40s urban sprawl. Perhaps he’s looking to cast centripetal zones with Claire Rousay, over a tape of “Field Recordings, Guitar, Piano, Synth, Vocals.” Yeah that’s right, this is a no-sax zone! Both mavericks instead are working towards a “cocoon-like space where the mundane, the sacred, and the cherished become one and the same.” Take a listen to the tape closer “Brushed to Hard,” and you can garner a pretty good sense of the openness that they look to bring to the center of your soundsystem. I’ll be placing my copy in an open-air cloud-room-glass-room and letting ghost cars pass out of the boombox and straight onto the highway.

Tape Pre-Orders look like they are going up Friday 5/7; be there or be square.

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