Indian Jewelry have existed in the margins for over a decade now, playing their fried 20th century rock in Houston, far from the coastal beacons of underground culture and haphazardly renaming their touring incarnations. If WGAF is an operating philosophy, it's a fruitful one for the group who have issued a steady stream of material since their 2006 word-of-mouth sensation debut LP Invasive Exotics. Just in time for the hopeful retreat of a never-ending summer, the group's latest LP Doing Easy - a title which both describes and cannily subverts the music within - is released today. Lurching from the head-nodding, seductive deadpan of "Charmer" (lyrical references include Abu Ghraib and Fukushima) to the synth-inflected workout "Luxury of Regret" (an evocative, impenetrable koan of a title matches an equally haunting tune), Doing Easy feels initially baffling but quickly becomes addictive, a quality the group shares with the recently resurgent Royal Trux. Doing Easy is released today on Studded Left (CD/Digital). Vinyl will be available in November via Reverberation Appreciation Society. Indian Jewelry tour Europe this month.
Besides stints in the alt-country outfit Souled American, the experimental collective Boxhead Ensemble, and a variety of other projects, Chicago-based guitarist Scott Tuma has built himself an ever-growing solo discography. And in between a double LP on Scissor Tail earlier this year and another double LP on Immune slated for later this year comes Eyrie, a comparatively brief cassette. Like many of his other solo releases, Eyrie features a fluid combination of expansive fingerstyle Americana and delicate tape-and-effect experimentation. Standout track "F. March" is a duet with Matthew de Gennaro, and it features the two accomplished guitarists interlacing delicate, meandering melodies to create a composition that's both lyrical and atmospheric.
In the years since Yellow Swans split, Pete Swanson has earned critical acclaim for his unique approach to extreme techno-noise as heard on records such as Man With Potential and Punk Authority. But he has also worked with NYC-based percussion and piano quartet Yarn/Wire. Two of Swanson’s compositions for the quartet, “Corrections” and “Eliminated Artist,” were recorded live at ISSUE Project Room, and now the venue is issuing these recordings on vinyl as part of the second batch of releases from their in-house label Distributed Objects. As the unexpectedly lush excerpts provided suggest, this is music unlike any we've heard from Pete Swanson before-- hopefully there's more like it on the horizon.
Hanson Records owner, ex-Wolf Eyes member, and otherwise brilliant composer/sound artist Aaron Dilloway has just put out a new track exclusively for Magnetic Detritus, a compilation from Imminent Frequencies documenting eight artists’ approaches to tape-based music. The double-cassette is a celebration of the label’s 5-year anniversary, and also includes Lea Bertucci, Gordon Ashworth, Dog Lady Island, and Sterile Garden, among others. Whereas Dilloway’s recent aesthetic has favored the eerie and esoteric sounds of the occult, “Salt Pan” is one of the harsher pieces he’s done in years-- a 12-minute scorcher that goes from a dense noise wall to a massively amplified signal noise, which just gets blacker and more opaque as the track progresses.
Magnetic Detritus is out on September 15 via Imminent Frequencies in a limited edition of 100, packaged in a reel to reel box with paste-on artwork.
Marreck is one of the monikers of Michael Hann, the founder of Reject and Fade. "Yuda" is a standout track from the upcoming 12" on Alien Jams of the same name, which marks the first Marreck release on vinyl. The specificity of the 12" as a physical format, long associated with club and dance music perfectly complements Marreck's "noise techno" aesthetic. However lazily and overused that term may be, the movement is real and there are basements from Brooklyn to Berlin where it wouldn't be hard to imagine "Yuda" crushing. The perfectly uncanny video is provided by Straightola AKA Stephen McLaughlin - a musician in his own right who records under the name An Trinse. Hann had this to say about the video: "I gave Stephen creative license to reflect the mood and texture of the music in any shape or form, [the result is] a visceral, psychedelic exploration of formlessness."
Brooklyn’s Advaeta premiere a new video today featuring the song "Newo" from their grunge-psych release Death and the Internet on Fire Talk Records. It’s an interesting encapsulation of the lysergic VHS sunset visions floating behind bands at Bushwick venues The Silent Barn or Palisades. This is due to the work of video manipulation wiz Ginny Benson, of A/V group Brat Pit, who no doubt has a huge pile of cassette tapes lying around her house. The visuals reference that classic US psych look, where crazed people prance around in the woods and swoosh around some fabrics and look sort of scary with masks and colors and whatnot-- like the cover of the first Black Sabbath record. Check out the video below, and look at the band's slew of northern tour dates after the jump.
The first time Kevin Drumm and Jason Lescalleet got together, they released a 2-CD album of sample-based noise called The Abyss. It was a bit of a runaway success, as much as harsh electroacoustic albums can be, but that is hardly surprising considering how long both artists have been manipulating noise with a calculated sheen of reckelessness. The noise composers will release a second collaborative album next month, and they're teasing it here on a two track EP, Night and Day. It's hard to know what to expect with Drumm and Lescalleet -- their sampling sources tend to be thematic, reflecting a chosen method or material the artist is exploring. A clue to the meditative sin wave on "The Night" can be found in Drumm's digital release from July: The Sea Wins. Here, it's been severely shortened, reflecting the bite-size format Lescalleet often uses on his collage series, THIS IS WHAT I DO.The Sea Wins leaves the sparse violence of Drumm's past work behind, and heads for the open desert. With Night and Day, the duo splits the difference, clearly influenced by silent horror flicks and the hypnagogic buzz of late-night scifi radio programs.
Their untitled collaborative album will be available on Erstwhile Records in October. In the meantime, Glistening Examples has been keeping their Bandcamp up to date with thick volumes of sound from Lescalleet and others.
That Spectre Folk and Magik Markers member Pete Nolan uses his own name for the first time on the recently-released Easy may suggest an interest from the artist in exploring his identity. The Gabriele Stabile-directed video for "The Mirrored Hall" bolsters such a suggestion, with a behatted Nolan wandering—searching—through the city. Eventually he comes to the titular location, a mirror-lined hallway, and in the words of Kraftwerk, "discover[s] a reflection of himself." He interrogates the image, the bass-driven psychedelic throb of his own personal soundtrack closing him in—and then he squeezes through a portal in the wall and becomes the laid-back rockstar-cum-lounge singer he is.
Easy is out now on Arbitrary Signs. Pete Nolan is playing with Zachary Cale and Pigeons at Baby's All Right, Brooklyn on August 28.
The abstruse marketing campaign for Oneohtrix Point Never's upcoming Garden of Delete continues with another short teaser video. This one, "g.o.d. gun," features footage of a boy in a cool pajama shirt coloring in a drawing of a gun. As the camera zooms in to the boy, jagged and ominous theme music begins to play, and then "GARDEN OF DELETE" is spelled out on screen in an electrified blue scrawl. The imagery at play, as with 0PN's website and letter to his fans, is dark, crude, somewhat melancholic, and unclear in its implications. The only thing that's for certain:
Long Distance Poison, the project of modular and analog synth-masters Nathan Cearley and Erica Bradbury, has a new video out for “Beast From Beast,” the central track of their new LP Human Program. Directed by Jonas Bers, the video was created using Bers’s self-built analog video synth and other circuit-bent equipment, providing the perfect mirror visual accompaniment for the track which was created from random and pseudo-random clocking, gating, triggering and frequency sequences, and which Cearley says is about “evolution and error and chance motivated development.” (Also worth noting is that this week on August 27 Long Distance Poison will be performing at Pioneer Works as the final installment of their Clocktower Gallery residency. There they will be performing a massive work involving numerous types of sound and video synthesis as well as “a series of specially created timed bees wax candles and incense that will ‘clock’ the performance.”)
Human Program is out now on Experimedia via Deep Distance.