Limited edition CD in white digipak, numbered, hand-stamped discs, exclusive art card
Styles: EBM, industrial, IDM, avant-garde electronica, harshe techno
Sort of similar: Various Warp Records and Wax Trax! releases. If Richard D. James did instrumental remixes of Nitzer Ebb
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This group of strangers has its origin in the electronic underground punk scene of Surabaya. Nobody knows who they are, how many they are, or what their real names are. The name of the project is Pyroclastical, and its function in this world is to blow up your mind. Pyroclastical is a mixture of raw sounds that make you think… but without any pretension to be “excessively” intellectual.
This album is a sound collage inspired by the concept of “Axis of Evil”, popular on the media during the War of Afghanistan in 2003.
It is not a political criticism, but a critique of the nominal and mainstream concepts of propaganda and capitalism. But not only in the fields of politics.
Some people trust in leaders and that’s fine, but many times we are deceived by them, because we trust on their promises… in a blind way… and some people steal our illusions without any remorse, pointing to others as the guilty powers that caused all the mess and despair.
Each one of the tracks refers to a city in the member countries of the “Axis of Evil”.
One-sided 12″ EP, screen printed covers, numbered edition.
Styles: Noise-rock, noisecore, punk, free-improv, instrumental speed punk
Sort of similar: The Bark Haze, KEN mode, Melt Banana without the cuteness, Skullflower but faster and with more intensity, early Swans on massive amounts of speed, Merzbow played by Big Black
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FLATBED have been wiping Nanaimo, BC, off the face of the map for about 15 years now. They’re the bastard brainchild of a guy named Mike Thibodeau who plays a two-stringed bass, comes up with the song titles, and is the only permanent member. Past members have included guitarists Andrew MacGregor (The Bark Haze, Gown), Ken Holiday (The Crusties, Void Fill) and Jakob Rehlinger (Void Fill, Semen Priest, etc) but you don’t join FLATBED for the long haul, you join to spill bile all over the stage for 15 minutes and get the hell out, leaving behind blown eardrums and stunned faces. There’s new guys on guitar now, they’re called Shrum and Jub. On drums Lindsay (Bash Brothers, Hag Face) is the fourth lady to beat the hell out of the skins for FLATBED. Drug Mom is their sixth release.
Styles: Free-improv, noise, drone, new music, experimental, electro-acoustic, musique concrete
Sort of similar: Sunburned Hand Of The Man, Pelt, Faust, a cassette of ethnological music being eaten by a tape recorder that’s being crushed in a trash-compactor, Life In The Bush of Luc Ferrari
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Moth Bucket is an electroacoustic duo from central Pennsylvania. Combining a professional background in new music/avant-garde classical performance and composition with a not-so-professional background in noise, the pair plays improvisational music with an assortment of unconventional instruments, both acoustic and electronic.
“Girls go to college, to get more knowledge. Boys go to Jupiter, to get more stupider” sings Jacqueline Noire on Moonwood‘s latest slice of cosmic garage-punk, simply titled Jupiter. In the clip, animated by Jakob Rehlinger, Grimes sends Elon to the titular planet to eliminate some perceived alien threat and things don’t go well for the man-boy wonder. Then things get a bit weird.
Moonwood will be playing a set-long version of this song at the matinee release show for their new album Arrivals & Departures, from which the single is taken, at Toronto’s The Dupe Shop (1185 Bloor St. W,) on August 25th (doors 3pm, free, all ages).
Styles: Post-rock, ambient, kosmische, chill-out, drone, psych-folk
Sort of similar: Mike Oldfield, Tangerine Dream, Pink Floyd, Tortoise
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Dark Bird describes In A Milky Way as “lazy, hazy, cosmic, psych-folk electronica” and we describe it as “kosmische new age post-rock for stargazing.” Tomato/tomato.
See also, the trance-inducing intergalactic video for the title track by Melissa Boraski (aka Eiyn Sof).
Dark Bird was founded by Roan Bateman in 2005 in Toronto (2013 he moved to Waterloo), and has been the home for almost all of his home-recorded music. His sound is often personal and low-key, but covers a lot of ground. The influences range from psychedelic, folk, alternative, electronic, ambient, experimental and more. Roan is a singer/songwriter, but often records instrumentals. Usually these two approaches will be kept separate from album to album, but there is definitely some overlap.
Dark Bird self-released Long Gone in 2007 and played numerous shows around Toronto for a few years. It became too much to continue with music while juggling family & work. Roan became focused on visual art as a creative outlet—designing album covers, T-shirts, and concert posters for Hawkeyes, Comet Control, Skydiggers, Michael Hurley, and Marissa Anderson among others as well as artwork for effect pedals by Greenhouse Effects—only performing and recording sporadically.
2018 will see the release of two new albums. In A Milky Way, which is an instrumental EP of lazy, hazy, cosmic, psych-folk electronica. To be released by Arachnidiscs Recordings in the summer as a limited edition CD, and digitally on Bandcamp. The full-length album, Lay Low, will be released by Ur Audio-Visual this Fall as a cassette, and also digitally on Bandcamp.
Styles: Freak-folk, american primitive guitar, post-rock, instrumental, acoustic improv
Similarities: The spiritual lyricism of Ben Chazny mixed with the stark brutalism of M.Gira. James Blackwell camping in a lo-fi cave. A doomcore John Fahey.
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Decay/Swarms is comprised of two guitar compositions recorded in single long takes. Both pieces are in an alternate tuning, and both explore various finger-picking patterns and musical styles, documenting durational guitar playing that changes speed and mood as the player cycles through emotion, fatigue, silence, tactile intimacy, and sudden improvisation.
The second piece, “Swarms” is dedicated to the late Ana-Maria Avram. It is inspired by her music, and in its later moments reinterprets her composition “Swarms for string orchestra”.