Sunday, April 22, 2018

“What’s All This New Piss?”
(Cassanova Cassettes)

If you dig straight up, balls to the wall rock and roll, then you’ll want to check out this tape!  Even though the album cover photo looked pretty cool, I honestly didn’t know what to expect from the first release I was reviewing for Cassette Gods.  However, what I heard coming through the speakers of my kitchen counter cassette player while sipping my morning coffee and cooking Sunday breakfast was a solid, powerful sound that embodied a mixture of many of rock’s most influential bands from the past twenty plus years...and it was being produced by the energy of only two people!

The Asbury Park, New Jersey duo kicks off their latest 5-track EP with ‘Preacher Says So’, a song that sounds like it would be the love child of Oasis and the White Stripes. This is followed by ‘Here We Go Again’, a ditty reminiscent of early Strokes output.  Track three on the EP is ‘Paddle Out’, a song clearly influenced by the work of Nirvana.  The album concludes with ‘Shed is Old’, which is my personal favorite as it’s a fun rocker that takes one back to the 80s hair metal heyday.  Kudos to these guys for doing Bruce’s adopted hometown proud and keeping old school, kick ass rock and roll alive and well on the east coast! 

-- “Charlie” John Templeman

Saturday, April 21, 2018

"U R Missing, U Destroyed From Inside” C37
(Abstract Tits)

Xenia Xamanek Lopez is a Copenhagen-based badass of many experimental hats, each of which somehow more distinctly adventurous than the last. & While other projects of hers focus more on drones or a choral base, this particular monicker, “C. Cell” draws its power from several disciplines including (but not limited to) Basinskian harsh noise cycles, where destroyed loop eats decaying loop eats dying loop, spacious narrative compositions of swollen distortion, non-beats, and live, knob-tweaking shouts into the void, and some good ol’ fashioned Skinny Puppy vignette worship, where nasty drum machines and ever-tweaked, tonal phrases battle to the death.

Not for the faint of heart, if this striking piece (to be ingested in its entirety) doesn’t grip you thoroughly, right away, may I suggest Taking your Time and zoning out a bit? The intricacies didn’t reveal themselves to me until after a handful of listens all the way through, but, once I strapped on the headphones, all the subtleties came out in full reinforcement; then I became a believer. Sit tight!

-- Jacob An Kittenplan

Friday, April 20, 2018

ALEX CRISPIN "Idle Worship"
(Sounds of the Dawn)

Based on the tape’s title, I was pleasantly surprised to find Alex Crispin’s Idle Worship to be a beautiful drone album. The album begins with minute synthesizer melodies over a breezy soft pad sweep of chords. Calming, soft, and charming. This is some really special high fidelity new age music. I can feel the warm summer breezes and ideal locations. I lose myself completely. This is definitely something you can relax to. A storm of overtone melodies softly permeates throughout. There is some thoughtful piano work on this album. A while into the second side, hand drums make an appearance. The final track is a fantastic; evocative of Philip Glass’ Einstein on the Beach with rapid fire arpeggios, guitar, and layers upon layers of keyboards.

Whether you’re on your way to a yoga retreat, sitting at your favorite spa, or stoned off your gourd on the couch with a loud stereo, this is definitely a winner!

-“Jamband” Josh Brown

Thursday, April 19, 2018

(Meta Errings Records)

This is the funkiest tape I believe I have ever received, and I of course mean that in a good way. Don’t misunderstand, this tape is rock and roll. )( somehow manages to be both in your face and laid back, frantic and soothing. Alex Ian Smith’s raspy falsetto is rivalled only by his excellent mix of guitar and bass. One thing I truly love about this tape is the synthesizer, we as music fans are at the beginning of a synth resurgence and I for one, am all for it. The synth on this tape is able to make me both nostalgic for the 80’s yet excite me for a future filled with jetpacks and shiny tracksuits. This album also showcases a talented drummer’s versatility with simplistic beats in the beginning to more complicated riffs in songs such as blinded by the blight.

With this tape, Railings combines influences from jazz, pop, and many different walks of rock to create a new and different sound. This tape plays just as well in your bedroom as walking through the city. )( creates a psychedelic rock experience that you don’t need drugs to enjoy, but it couldn’t hurt. Give it a try, after hearing the first track (not to be confused with the song track one) Breaking the Bong cut through the silence, you’ll be hooked.       

This cassette also included on its B side a sampler of other Meta Errings artists, and I will certainly be checking out 8-tracks from everywhere along with a few others.

---Drake Douglas

Wednesday, April 18, 2018

"Isinglass" C48
(Public Eyesore / Eh? Records)

Your average Josephine, when asked “What adjective would you use to describe the potential for this rock?” might reply “throwable” or maybe “stackable”, perhaps “cleavable”, but not likely “wobbly”, and even less likely “contact mic-able”, but, hey, Cheryl Leonard is not your average Josephine.

Possibly allergic to conventional instruments and/or western tonality in general, she produces and amplifies her own unique timbre-sets from such self-fashioned instruments as “driftwood pipe organ, Kelp Flute, and Kelpinet”. She also utilizes Japanese bowls and gongs, as well as contact-mic’d sand and wobbly rocks on hardwood floors (of which I have had the pleasure of seeing live, in tandem with progressive ballet)…aaand driftwood mobiles softly clinking together. This recording doesn’t include the myriad sculptures she’s made from horns & jawbones & pinecones & turtle doves & pear trees. She’s prolific in both her soundmaking and soundmaker production. If you’re not already, get acquainted via the link to her website below.

This specific release finds her collaborating with like-(out-of)-minded explorers Bryan Day and Jeph Jerman, they, themselves deft and prolific and here coaxing reverberant drones out of “household objects, invented instruments and radio transcievers”, the resultant being a surprisingly pleasant amalgam of ambient, drone, and percussive noises that feels both deeply narrative in composition and outright eternal in delivery.

To note, Eh? Records, out of Sam Framcisco, is putting out some truly outside-the-tetrahedron experimental/noise, so go on over and have an ear-gander at the samples available on their website.

-- Jacob An Kittenplan

Tuesday, April 17, 2018

(Halfshell Records)

Like most music, the first thing that impressed me was the incredible detail payed to the packaging (blue glitter shell in a poly clear case). The album started with a speech read over what seemed like Beach Boys songs being played backwards. These are both good precedence’s for Seattle’s Basement Surfers brand of slightly progressive power pop. Some really cool guitar and keyboard tones float around the many, many parts of their songs! The first song made me curious about whether or not they surfed (like the ocean). The drumming is pretty nasty and the song structures and arrangement are dense and fascinating. Even a space rock jam breaks out now and then!!

Part way through the side is a sweet synth jam (has to be my fave overall). Throughout surf rock pastiches appear and fade. This tape really went off into a jam/guitar soundscape section towards the end of side a!!  Side b starts with a well-deserved series of catchy, seemingly more pop, oriented guitar rock songs. Side B has a flow to it, almost like a medley. The vocals are subdued and fine. I imagine the band likes Yes a bit, maybe too? Sadly SOLD OUT but check it out on bandcamp!!!

-- “Jamband” Josh Brown

Monday, April 16, 2018


Effortlessly translucent, Tropical Interface, a fresh-faced Russian producer connected via plantlike fibers to the so-called “eco-grime” scene (Resident Advisor’s term, not mine) as well as to Sydney-based instigative record label Eco Futurism Corporation, drops “OM1,” the first in hopefully a lengthy series of tapes for Orange Milk. Get it? “OM1”? If this keeps up, by the time “OM20” drops, the ocean will have reclaimed most of the surface of the Earth, save for a few island oases where cooperation with nature is the only option for survival. Of course there will be a recording studio on one of them – how do you think “OM20” came to be in the first place?

But I’m getting ahead of myself.

Tropical Interface is the sound of the molecules in the polar icecaps beginning to speed up with the increase in temperature, hastening glacial breakdown and the aforementioned expansion of ocean borders to terrifyingly inland locations. Balancing the molecular freakout with a pristine and clear tonal palette, Tropical Interface layers on coat after coat of digital sheen, expressing in synthetic reproduction a fully natural experience. This is the whole MO of the eco-futurism movement, though, a blend of nature and technology that seamlessly interweaves to evolve into something beyond even the vision of its creation.

Where “OM1” succeeds, thrives, and indeed moves far beyond any confines imposed upon it is in its delirious melodic structures and patterns. Tropical Interface sure does make some of the most pleasant and accessible footwork/drum-n-bass/etc. that you’re likely to hear, even as “OM1” doesn’t skimp on the virtuosic rhythms or breakneck pace. This tape is a living, breathing entity, a mad dash toward possibility, potentiality, and, in the end, probable outcomes. Cop one from an island oasis near you.

Tropical Interface 

Orange Milk

--Ryan Masteller

Sunday, April 15, 2018

MARIJEAN "Shades of Green"
C90 (Chthonic Records)

Marijean fades in like a dream carried by a muffled, almost timid, voice. Shades of Green is overall downtempo and is often led by what sound like a synthesizer and a guitar. Though these electronics are prevalent, Marijean doesn't rely on over-the-top mixing to convey their somber passion and allows the listener to become engulfed in its warm tones. Shades of Green, in my opinion, is a lullaby that is heard from another room; if not another mode of thought altogether.  Even though this release is about an hour and a half long, I can't help but wish it were longer.

-- Julian Alvarez

Saturday, April 14, 2018

SLIME MOB / 06515 Split (Self Released)

Not that I’d ever complain about any exposure for the Connecticut music scene, but these are tragically two of the most overlooked Connecticut experimental artists. Lots of people know Connecticut for its opulent suburbs and rural areas but many don’t know about the difficult streets of the inner cities. 06515 and Slime Mob embody the carnage of being an outsider musician in an unforgiving place.
The Slime Mob side of this tape is a sample driven masterpiece in urban sprawl and decaying media imagery. Mixing such diverse styles as crunk, breakbeat, straight hip hop, and found materials (the album opens with a blood curdling 911 call) the layering and beats are flawless and heavy with heavy guitar samples and booty bass galore.  This side even has a remix of Umbrella. It sound is almost like rows of car stereos slowly edging up a city street in tandem. If you ever wanted to have the snot scared out of you by a Handsome Boy Modeling School album then here you go.

The 06515 side goes off the deep end FAST and stays there. Booty bass, reggaetón riffs; doo wop samples; sirens and off phrase rhythms like you might hear in early Autechre. Its in a way smooth but also jarring. Its difficult to place how the complex sample tapestries were created. This sound is amongst the freshest of the fresh. Its like the speakers are moving around the room. It reminds me of waiting at the crowded bus stop at the New Haven green, the smell of all kinds of smoke in the air, people selling single cigarettes on the benches. The sounds of rhythms melting. At some points, cogency even breaks out in actual, complex, danceable music.
All and all, I feel like this split really expresses the style and dynamic of Connecticut experimental music at its finest. Look for more in the future from these two dynamos!!

Slime Mob side:

06515 side:

Still available if you contact Slime Mob!!

-- Josh Brown

Friday, April 13, 2018

"Thin the Blue Line" C26
(Split Banana Records)

Final Cop shares the same grim, industrial genetics as German Army, but eschews all of that namby-pamby, reflective/meditative stuff and worldly wisdom and focuses instead on working out the frustrations and ineffectuality that comes from suffering through a hard, city livin’.

For a GeAr ReLaTiVe, these songs come off like a (rightfully) jaded early 20s streetpunk testing the murky waters of self-medication and organized crime. Sounds like it might not pull one out of a bad mood so much as help cook up plans for revenge.

-- Jacob An Kittenplan

Thursday, April 12, 2018

RUNNING “Live at WFMU” (Monofonus Press)

From Running’s gushing butts comes a behemoth of fetid sleaze dank enough to overpower the most stalwart of our young heroic generation. Running is not for the squeamish. Running is for those who wallow, who wilt, who wonder what it must be like not to heave their stinking breakfasts back up day in and day out. Running is not for those of you who are into actual running. Running likes to sit alongside track meets with cases of PBR and hurl insults.

Speaking of hurling, Running lobs a hand grenade full of rotted meat into your open and vulnerable psyche while also literally lobbing gobs of rotted meat into your open mouth. Seriously, go to a Running show.1

Dressed in their Hawaiian shirts for radio (don’t ask me), the trio blasts through a vicious set of post-SST/AmRep noise to a radio audience that didn’t sign up for this shit. When they’re through, Thomas Storck, whose radio show they just played, can’t even muster acknowledgment. He just plays “Call This Number,” an entire A-side by Person of Interest. OK, fine, he thanks Running after “Call This Number” ends. But he’s not the same after listening to running – he’s changed. Like he’s been making out with a jackhammer.

In the end, the only thing you really need to ask yourself is, “Did I really just read a review beginning with a line about ‘gushing butts’? And I read the whole thing?”

1. Disclaimer: rotted meat may or may not be lobbed into your open mouth at a Running show.

Monofonus Press

Undancing in the Dirt with Thomas Storck: Playlist from July 17, 2016 [WFMU]

--Ryan Masteller

Wednesday, April 11, 2018

POCKET CLOUD “Tangle” (Valley Heat Records)

Pocket as far as I could tell is the debut album for Brisbane, Australia based band, Cloud Tangle, and if this is the first I sure can’t wait to see what comes next. Written and performed by solely by Amber Ramsay, Pocket is a ethereal, melodic concept album that would be impressive if created by a full band let alone one person.

Cloud Tangle’s Pocket is like a dream, a good dream to be sure. From the organ like synth, to the drawn out longing vocals, the whole thing makes you feel lost in another world. This is music that lends itself well to deep introspective thought, this is the kind of music you need playing when making life changing decisions out in the rain.

The best way for me to describe this album would be haunting, but beautiful. Listening to this tape you can just feel the time and emotion that went into putting it together, the way the instruments are used, some put at the forefront and others are hidden away only to be discovered in later listens. 

Favorite Track: Almost Close To You

--Drake Douglas

Tuesday, April 10, 2018

GERMAN ARMY - 3 tapes

"Kurgan Hearth" C39
(Os Tres Amigos)

What do German Army, Andre the Giant, Albert Einstein and a tweaker covered in baby oil all have in common? They’re pretty much impossible to pin down! Yes, you guessed it; GeAr continues to blurrr the ever-loving-shit outta the boundaries between industrial, ambient, tribal, and devotional genres, melding their disciplines like scratching an itch your third eye didn’t know it even had. Both expertly innovative and bewitching, this hypnotic (too upbeat for “hypnogogic”) document transports half our brains to distant Promethean ceremonial circles while dragging the other half along the exhaust-blackened walls of occupied underpasses soon to be “under construction” again.

This somewhat recent release (out of Portugal) is one of (well?) over 60 others (for GeAr) and is already sold out (of course), so give it a spin on the ol’ bandcamp (link below) and keep your eyes peeled for more brilliance in the (likely NeAr) future.


-- Jacob An Kittenplan


"Pyura Chilensis" C35
(Luce Sia)

I could see GeAr putting out a cassette in each of the 195 countries in this world by 2020 and each and every goddamn one of them being worth the shipping/smuggling cost. Seriously, this prolific project kicks out the…well…not “jamz” per se, but some seriously entrancing tracks of the industrial/ambient/tribal/devotional/fusion variety. And just what the fuck exactly does that sound like? Well, it sounds like German Army. 

This time around the globe, “Pyura Chilenses” comes out of Switzerland, and it’s a decidedly colder, more industrial offering, and just as Rock Solid as ever. My favorite track (Kaleteur Mist) pairs such disparate timbres as Andean flutes (field recorded, wafting over a valley?) and frenentic, blown out, metallic drum machines rattles that could be mined from any number of construction sites. Dynamically navigating the levels of attachment, GeAr evoke feelings of detachment and overwhelming mood-swing (of the chill variety), and it’s a damn fine trip! 

Strongly recommended for anyone who loves the early Skinny Puppy instrumentals/interludes.


-- Jacob An Kittenplan


(Total Black)

“Swidden” is yet another psychic onslaught from San Bernardino’s finest purveyors of ambient industrial wreckage and postapocalyptic sonic doom. Here we find the group on Berlin’s Total Black, a total perfecto match and a total win for central Europe. A total win for us Americans, too, as we’re able to purchase things from other countries and have them shipped to us here in the States. Bet you never saw that coming.

There’s also the digital files, but what’s the point.

Brilliantly earwormy as usual, German Army tracks wriggle around like arthouse nature films, like insects in the throes of predation. These tunes burrow into your brain like rat lungworms, parasites that feed off the very activity they create. In fact, the pulsing electricity created by brainwaves reacting to “Swidden” is sheer nourishment to a vast ecosystem internal to the human body. I’m certain you’d be super grossed out if you levied it with any degree of scrutiny.

“Swidden” is not for the faint of heart. German Army is never for the faint of heart.

German Army 

Total Black

--Ryan Masteller

Monday, April 9, 2018

"The Shape of Punk To-Go"
C10 (1980 Records)

In less than four minutes side one is over.  In less than four minutes side two is over.  Within those confines there's an assault that pounds a hole directly through the walls behind the speakers, directly through the third eye in the center of my forehead. 

This is technical, fast, driving metal and it never lets up. There are four song titles but it plays like two sides of solid pulsating insanity.  Well played and recorded and very intent on getting the point across.  Which is "we're going to tear down your house."

You can't listen to this quietly, and you'll not want to.   There's a Mr. Bungle/Secret Chiefs 3 thing going on here, a jarring and smashing but very precisely controlled aural brutality. Recommended as your outgoing message for when you don't want them to leave a fucking message.

--Kingo Sleemer

Sunday, April 8, 2018

J. ZUNZ “Silente” (Monofonus Press)

Somewhere between Cocteau Twins and Mitski on that admittedly narrow spectrum lies J. Zunz, super music moniker of Ensenada, Baja California musician Lorena Quintanilla. Formerly of Guadalajara, Quintanilla “depicts the entrapment between unsolved happenings” on “Silente,” her first solo album.

Wait a second. Did I read that right – “the entrapment between unsolved happenings”? For those of you who are as obsessed about Twin Peaks (and in particular The Return) as I am, that should set your Spidey … er, Blue Rose senses atingling. I mean, that’s essentially the gist of the entire story arc: entrapment, unsolved, … happenings. Even the cassette title, “Silente,” conjures memories of Mulholland Drive’s Club Silencio, whose singer-in-residence, Rebekah Del Rio, made an appearance in Twin Peaks.

As an amateur sleuth, for me these dots connect ever so conveniently while listening to Quintanilla’s music, and it’s not difficult at all to imagine J. Zunz playing the Bang Bang Bar. In fact, she may just have in an alternate universe (wink wink).

[Why are you winking?]

[I don’t know!]

If J. Zunz did play the Bang Bang Bar, she’d slot in right between Lissie and The Veils, or maybe Trouble and Au Revoir Simone. She really, really wouldn’t be out of place at all. And I’m really getting hooked on “Silente.” Grab the heck out of it if you can.

J. Zunz

Monofonus Press

--Ryan Masteller

Saturday, April 7, 2018

"In the Midlands everyone jerks on the private towpath"

I'm not exactly sure what this is nor if I've correctly identified the artist and title. This tape is recycled out a copy of Neil Young’s “Freedom,” but the artwork has been pasted over with a page torn from a novel. The cassette also has a sticker which reads "juicy bulbs and the scheduled tombs,” but internet searches for these phrases are fruitless. The audio contained is just as cryptic—the tape begins with a male voice with an English accent which croaks out “...its a good morning for rubbish.” The voice comprises most of the tape, but samples of other audio-snippets of music or news broadcasts-are sprinkled throughout.

I cannot discern any sort of narrative that links together the phrases, but I suspect that this tape was created from another tape of recorded voice, as some portions of audio are repeated but with different context given. Vampires appear several times, and the phrase “glorious nipple” is one which appears more than once, at one point said to “always seem bigger on the radio.” At one point I think I hear him say something about the “juicy bulbs” but I can’t be sure. This collage is pasted across both sides of the tape from end to end and is at once intriguing and grating. The voice is not pleasant nor easy to understand. It sounds as if recorded upon a hand-held tape recorder in various states of fidelity and sizes of room. Many fragments sound muffled as if recorded inside a pocket and through layers of fabric, or on a busy street. Towards the middle of the tape some of the audio seems to be affected with primitive tape-machine skills and blasts of static and noise.

I would compare the work here to that of Shane Edge or Aki Onda, but without further context I’m unsure of the purpose here. If you want to hear this, I’m not sure how you can find one nor how to contact the person(s) responsible. They sent it in for review however, so it’s intended to be experienced in some fashion. I’ll sum up this review with a quote from the tape itself: ”I’m a safe bet, not a nightmare chicken.”

--Ben Myers

Friday, April 6, 2018

"Last Day On Earth"
C30 (Staaltape)

Midori Hirano's side is primarily a piano piece with some ambient / experimental music elements thrown in. The piano piece isn't overly complicated but it is a great calming listen on this cold Sunday afternoon.

Kris Limbach's side is  a much more noisy musique concréte composition. This being one of my favorite genres it is always great to find a new artist and especially one who does it well. This track does remind me of some Small Cruel Party works, clean but wavering in and out of discernible sources.

Overall I am impressed with Kris Limbach and not disappointed by Midori Hirano's composition. I do like that Staaltape did mix these two artists together because releases like this show it does not always need to be artists that are exactly the same on a split release.

- - Marc Benner

Thursday, April 5, 2018

"Karst" C42
(Monofonus Press / Astral Spirits)

Jeph Jerman & Tim Barnes have teamed up to deliver a few long form, layered, sonic poses of textured ambience* for your inner storytelling pleasure, so put some meditation pillows in the closet & strap on the ol’ headphones for an exercise in mental multi-tasking.

Journey 1, titled “Scumbling” finds you navigating urban life’s rich tapestry of vehicular reverberations mixing with a subtle, utterance-free toiling.

Journey 2, titled “Occluded” could be anywhere, but I’d put my money on a gambling hall. Cheap, contact mic’d tables give away secrets, and a quick getaway to another country is on the menu.

Journey 3, titled “Karst” is painful. Something happened. Maybe a goon cracked a bottle over your noggin or maybe it was the pills. Either way, something ain’t right, and you’ve gotta take care of that splitting headache or…

These are just a few possible interpretations of what “Karst” may yield those a-yearning for a subtly guided daydream.

*To note: One might ask, “Now why in the hell would I want to listen to field recordings of everyday sound happenings paired with another human being’s whimsical responses in the form of clattering about?” The answer might involve the careful mixing of said soundscapes & scrapes together and your own relationship to repeated listens.

-- Jacob An Kittenplan

Wednesday, April 4, 2018

(Rok Lok Records)

“To Be Here” is the 28th release on Stars Are Insane’s Bandcamp page, but the first that I’ve heard. Mike Andriani creates guitar-based drones which bookend and backlight pop songs, using 4-track tape and layers of guitar. This is ethereal bedroom-pop which is heavily inspired by 90s lo-fi and shoegaze culture. The cover art perfectly compliments the music: a silhouette of a tree-line against a purple sinset, one pinprick of light beginning to shine through the haze. The sounds warble and flow along the riverbed carved by tremolos and tape-delays of the past, propelled by lazy drum machines and oscillating drones.

Vocals are not always present, and often sparse. The lyrics reflect upon the passage of time and the changes which occur within ourselves and among our relationships. Sometimes the voice reaches just a bit out of key, but that only reinforces the bedroom quality of the recording. On the song “They Won’t Destroy Us” the guitars warp and bend against a steady progression, suggesting the feeling I get when staring at a flagpole against a flow of clouds. The pole threatens to fall and crush me, but never reaches and I float safely below. “Dream King” reaches into more propulsive territory, with a driving beat and squall of guitar. Still this short, restrained rocker doesn’t fly off into the stratosphere. In two minutes the dream is over and “Then There Was the Sky” drifts into the forefront, an instrumental composition of layered drones and melodies.

Recorded in the fall and winter of 2016, “To Be Here” feels perfect for the cold twilight of those months, breath hanging in the air and stars twinkling more clearly. Andriani keeps the pace unhurried and lays blankets of guitar across the songs on this tape. This is DIY shoegaze at its chillest. Play this and watch the icicles grow.

--Ben Myers

Tuesday, April 3, 2018

“Seekers” C42 (Cosmic Winnetou)

Inspired School of Astral Music, from North Kansas City, somehow has connected to my brain. It’s the “astral” part, isn’t it, the unknowable spiritual dimensionality that allows linkage without a physical bond. How else would Inspired School come to the same conclusion as me, that “it is possible to experience the music from beyond within, and voice this experience through a musical instrument”? I’ve been saying that for, like, ever! Well, not in so many words, but definitely a variation. Reading that then listening to “Seekers” has kind of validated a lot of what I believe about music. Or at least my online persona believes it, since in reality I’m just a collection of computer coding masquerading as a human presence on social media and music sites for some reason. (Or maybe I’m a demon-possessed laptop. Who’s to say for sure?)

Inspired School of Astral Music exposes the inner melodies calmly attempting to guide us through life, manifesting as droning synthesizer with exquisite solos to keep our attention. The trancelike repetition is underscored with pulsing energy, truly giving the impression that it pipes in from another plane of existence. Also, each track is (at least digitally – there are no track titles listed on the physical product itself) dedicated to someone or something: “For D.,” “For C.,” “For L.,” “For G.,” “For A.” This gives “Seekers” an extra sense of camaraderie and interconnectedness, that the music filtering through the Inspired School is just that – filtered, not owned, freely given to those who deserve or require it. It’s not for us, it’s for you. It’s not for me, it’s for them. It’s not for ISoAM, it’s for D., and C., and L., and G., and A., and everybody else. I’d argue that it might not be for me, being a bot and all (or a demon), but probably nobody’s going to think about that very much after reading this. They’ll be too busy getting a psychic massage from the Inspired School of Astral Music tape they just bought.

Inspired School of Astral Music

Cosmic Winnetou

--Ryan Masteller

Monday, April 2, 2018

Larry Wish, Lips & Ribs, Oxykitten

Yo everybody! Put down your snow shovels and strip off your snowsuits, spring is here! And so is a new spring batch of tapes from your favorite purveyors of ice meltage and plant growage, Field Hymns! I know, shut up, right? Yeah, shut up!

LARRY WISH “How More Can You Need?”

Not a typo, this title, “How More Can You Need?” Larry Wish is just drunk, probably, or maybe high on pollen (god, this pollen), hovering around his synthesizer and dreaming up wistful and off-kilter anthems for waking up in sunlight rather than darkness. Wishing upon warbling stars, we are transported to Larry’s magical realms where gnomes and fairies populate our conscious REM visions, stumbling through seasick synthwork on a path to discovery. Discovery of what? Discovery of fun, kids! Listening to Larry Wish is like mainlining Lucky Charms, and don’t you pretend you didn’t deck yourself out all in green this St. Paddy’s Day. Sprinkles, sparkles, spackles, crackles, wibbles, wobbles, wubbles. I think my cereal was dosed.

LIPS & RIBS “Battle in Nagoya”

Casio-wave boss fight music never sounded so refreshing and alive! “Battle in Nagoya” follows “Males in Harmony” (actually, all these artists pretty much follow themselves on this here Field Hymns label – is that cannibalism or incest, or neither?), a crash course in hyperspeed sugar-rush synthesizer/rock dynamics. Like chiptune’s bigger, beefier brother, Lips & Ribs prep you for digital dancefloors and digital mosh pits alike. Pretend you’ve been sucked into a computer like Jeff Bridges in “Tron” and try not to get yourself de-res’d as you play disc-throwing games, and laserbike racing games, and generally avoiding those flying 2D robots that look sort of like renderings of old Cylons. I mean, all you have to really do is take a stroll down electric blue lanes on this glorious digital spring day. See? Lips & Ribs still make us feel good about ourselves even though we’re comprised of computer code.

OXYKITTEN “Gleeking the Cube”

Speaking of getting out of the house and hitting the streets on this perfect day, Oxykitten has misspelled probably my favorite Christian Slater skateboarding movie, in the process adding way more saliva than necessary. But, like an unholy hybrid of Larry Wish and Lips & Ribs (it’s incestuous, that’s what it is), the ’Kitten barrels forward, heel-flipping and ollying and popping shuvits like nobody’s business. If someone had the audacity to attach wheels to a MiniKorg and record the sound of skateboarding upon it, it would be Oxykitten. Synth excursions abound, trees sprout through the cracks in the skatepark concrete, and we all receive a lovely cassette-shaped flower from Oxykitten, grown from the neck of a dead squirrel. Inhale the fragrance, kickstart your histamines!

--Ryan Masteller

Sunday, April 1, 2018

"Echoic Architecture” C60
(Polar Seas Recordings)

If the serial killers don’t get you, the squatters and security guards will likely give you a hard time. This is why you can’t just explore abandoned buildings whilst donning headphones. Luckily, there’s a way to safely transport and guide your mind through infinite catacombs, subway tunnels, condemned warehouses, and more! Try “Echoic Architecture” by the good folk over at Endurance!

Per Bandcamp, Endurance has churned out over a dozen releases in the last two years, and my guess is that this is what it sounds like when a Canadian-living-in-Japan’s hobbies are centered mostly around making professional-quality field recordings of subtle city sound textures and sculpting high-frequency overtones and organ drones. The sound is pure, dissociative desolation. A blooming relationship with crumbling walls, damp pipes, and neglected electrical equipment develops as a coping mechanism.

Yes, this tour is a lonely one, but only if allowed, so you keep your footsteps for company, and as the hour-long soundtrack comes to a close, as you reach the final landing and fling open that half-rusted out door to realize a barren rooftop, with its collapsing garden of chimneys & satellite dishes, the realization of how expertly scaffolded this waking dreamscape truly was beams down on you like a perfectly timed sun poking through the clouds.  Happy exploring.

-- Jacob An Kittenplan

Saturday, March 31, 2018

"Shifting Lands” C41
(Polar Seas Recordings)

Polar Seas Recordings (out of Toronto (Ontario, Canada)) specialize (with a hard S) in putting out mesmerizingly intricate ambient/drone/minimalist releases that are unbelievably inspiring for daydreamers, painters, or those who like to read Ray Bradbury and pause to imagine themselves alone on another planet. Pretty much every release I listened to (on their bandcamp site) would also fit perfectly as a substitute soundtrack for any space or nature documentary devoid of human beings.

Anthéne’s “Shifting Lands” doesn’t just stick to terrestrial, muddy drone-swells and seismograph-exciting grumble-textures.  Many a track also patiently incorporates plenty of multi-level’d, wispy, angelic swells (and on others, varying, dissonant drizzles) that hover high above thick, mid-low binaural floes, for maximum dynamics… and plenty of opportunities to play “now, exactly how many layers are going on here?” The end result is a hazy, hallucinatory drone-scape to take a relaxing (albeit lonely) mindwalk around in.

-- Jacob An Kittenplan

Friday, March 30, 2018

BEN ROBERTS "Unit Audio" C40 (Staaltape)

I could not find much info on Ben Roberts as far as past releases so I am not sure if there is may more releases available. For this release, I would say it is tape manipulation done very well.

From the beginning of the tape, there is a lot of sampled audio from various sources. While reading the Bandcamp description it is all found tapes. Found tapes with audio remnants, TV/Radio/Music extracts, Mechanical or other tape sounds.

Tapes are sped up and slowed down over layers of creeping audio most likely from other found tapes. Working with found sounds can be done very poorly and while this isn't my favorite artist interpretation of this type of work it is done very well.

Staaltape is an interesting label that started a while back as a side project label from the legendary Staalplaat, excellent hand made packaging and super limited release numbers. This tape is limited to 24 copies so if this type of music interests you I would recommend picking it up soon!

- - Marc Benner

Thursday, March 29, 2018

EXPO 70 “Exquisite Lust” (Sonic Meditations)

Justin Wright, Sonic Meditations honcho and Expo 70 himself, is, more accurately, a neutron star personified. Meaning: his core is somehow so dense that sound emanating from his guitar playing orbits around him as it’s caught in his gravitational field, at once daunting in its physical properties and euphoric in its celestial execution. Like, it’s spacey drone madness, dude, if you want me to get all simplistic on you.

There’s nothing simplistic about the interstellar jams seshes Wright blasts off into at any given moment, whether they’re testing the limits of spacetime as they’re stretched across the event horizons of black holes or zooming through space like radio signals from a pulsating quasar. The slow burn of the delicate fretwork and the experimental odysseys of effects manipulation are particularly otherworldly, transporting you as you listen to the outer reaches of galactic discovery. The gold-glitter-flecked cassette tape sure helps with that too – maybe you’ve just been inhaling the physical by-products of an Expo 70 improv session this whole time … or for a really long time.

The vast unknowable forces manifest themselves as sound within the human body and morph into all kinds of human feelings, sometimes confusingly as lust. Forbidden, exquisite lust. And there you have why there’s two porn actresses adorning the cover of this tape.

But gawdDAMN if I’m not astral projected right out of my sneakers and into the center of a nebula by this Expo 70 tape, nude ladies or no.

Expo 70 

Sonic Meditations

--Ryan Masteller

Wednesday, March 28, 2018

QUALCHAN. “Vera’s Dream” C20
(AEscape Sounds)

While working on “Vera’s Dream,” Qualchan. was influenced by the novel “Ecotopia: The Notebooks and Reports of William Weston” by Ernest Callenbach. The book, which I haven’t read (I mean, I have a reading list a library long, sue me), is the chronicle of a society working toward an “eco-utopia.” Callenbach has called the society “imperfect,” rather a work in progress than a fully realized vision.

Qualchan. has seemingly captured that sentiment in “Vera’s Dream,” as the “imperfections” of the recordings are perhaps my favorite things about it. You can probably tell I’m a big Leyland Kirby/Caretaker fan, and that really helps in enjoying what Qualchan.’s up to. You really get the sense that the tape unfolds like a distant narrative, like there’s a story obscured by the sounds, an indistinct account whose blanks you have to fill in yourself.

Whether or not “Vera’s Dream” is intended as a portent of future events or is just an audible longing for even the process of becoming better doesn’t matter in the end. What matters is that its enjoyability doesn’t even hinge on prescribed conclusions like the philosophy of utopian society. See, I haven’t even done the homework necessary to get into the same headspace as Qualchan., but I like “Vera’s Dream” just fine. I just have to inscribe my own history and personality upon it.


AEscape Sounds

--Ryan Masteller

Tuesday, March 27, 2018

SETH KASSELMAN "Left Out" C90 (self-released)

You take a lot of stuff from a lot of places, don't you?  I don't know, maybe you don't; let's call it the royal "we." This is about Goodwill, apparently, with a capital "g", that place where you go and find leftover junk and buy it and somebody profits and somebody doesn't... there's a political statement in the j-card, along with a tax form, a separate level of meaning given to whatever meaning the listener gives what's on the tape. 

What's on the tape is kind of exactly what's in the Goodwill - tapes and records and CDs (and some ceramic statue of a dog) you wonder why anybody had in the first place, but you buy anyway, so you can dig in there and see if you can make something out of the other something that's not really a sum of any parts but is, instead... what? 

There are clanging bells here, various samples of sounds (maybe recorded from junk retrieved there, maybe not,) along with what is definitely recordings of tape recordings played sometimes at the correct speed and sometimes not.  Chanting people and drums.  Some of it sounds a little like that stuff in the desert scene in Close Encounters of the Third Kind, along with some percussion that may be someone beating on a water bottle with a mic inside.. 

Essentially plunderphonics and sound collage, various sources thrown on top of one another, manipulated and turned into something else, Left Out is a journey, and by no means the kind of one-trick-pony that something like this often becomes in lesser hands.  There's a flow here, and, while there are periods that won't let you forget you're hearing someone else's garbage collected in thrift shops, there are also transcendent moments in which there's very little in the way of guideposts pointing you back toward that shore.

For me where these things can come alive, as they do beautifully here, is in the sounds sourced from someone's personal audio, recordings from meetings, phone calls, the day-to-day ephemera, probably important to someone at the time of recording but now set adrift and out of context, devoid of its original meaning but given a new, more universal appeal through the sheer randomness of hearing it in this way.  This is immersive music made of scraps of everything, and worth hearing.

-- Kingo Sleemer

Monday, March 26, 2018

ANGEL DUST “Post” C28 (Outward Records)

I am left with the wreckage of Kenny Rakentine’s passing. POST is not a forgiving environment – it’s bleak, it’s uninhabitable, it’s barren. It’s a recording filled with linguistic signifiers of the harsh landscape, as titles such as “Skull,” “Struck,” “Drown,” “Smoke,” “Bacterial,” “Splintered,” and “Crush” dot its tracklist. I’m cherrypicking, sure – “Nurse,” “Leaves,” and “Wave” can all be considered to inhabit a more positive tip, but let’s not derail the narrative so soon, shall we?

Yeah, POST is an unforgiving listen, a heaving slab of post-election angst, a commentary suggesting maybe that the postapocalypse is here, right now, and guess what? No amount of modern convenience is going to convince me that the sand is the best place for my head at the moment. I got my eyes open, looking around at things, and I see those things, and I don’t like them. And POST reverberates in my headphones, and I just get angrier, and I’m pretty angry a lot about stuff and things and other things.

And POST sustains me through the weird realizations and awkward externalizations of feelings that only I’ve been privy to till this point. But that’s not helping anybody. Rakentine’s Angel Dust project has helped me feel the feelings of righteous indignation. Maybe it’s that we’re both from Pennsylvania. That alone will fuck up anybody to a royal degree.

Rakentine’s passing as Angel Dust leaves us listeners in a forbidding position, without much in this modern life to grab onto except our ingenuity. Well, that and the blast furnace of detuned droning sheet metal splitting apart at a molecular level. We can hang on to that if we can take it.

Angel Dust

Outward Records

--Ryan Masteller

Sunday, March 25, 2018

"Sequencer Works Volume Three" C90
(Personal Archives)

You know that scene in Cool Hand Luke, where Paul Newman is getting worn down to the bone by the warden, told to dig a hole, then fill it, then dig it again, then fill it again, over & over, on & on? I imagine that THAT’s what Arvo Zylo’s late 90’s sequencer knobs must have felt like, so mercilessly twerked & oscillated to the ends of the Earth, much like rusted keys struggling with the locks to the Gates of Hades.

& Let the above stretched analogies parallel this documented output from said Yamaha RM1X Sequencer; both creators haphazardly exploring the yields of their craft, if only to produce personal documents of growth and chops. Unapologetically honest and unselfconscious.

“Sequencer Works Volume Three” is an hour and a half of some of Arlo Zylo’s earliest works, and it’s one hell of a trip. In a phrase, “Stream of Uncompromising Counterpuntal Consciousequences” would be best fitting, here. Save two tracks (out of 17) every sound was coaxed from said sole sequencer, with sonic overload as a Means, not just an End. The result is gritty, dynamic, glitchy, raw, & pregnant with possible interpretations, aversions, and oddly infectious earworms.

-- Jacob An Kittenplan

Saturday, March 24, 2018

(Chthonic Records)

Honeysuckles is a structure of field recordings and airy instruments with HOOPS voice dead center guiding you through this world they have created in the style of musique concrète. "Honeysuckles" opens with softly wobbling electronics and an acoustic guitar being plucked into an open abyss. Here we are introduced to our narrator and the theme for the rest of the album. The title track is the story of an old man who is trying to protect his garden from children eating his flowers. A fairly straightforward story which ends in his ascension. Throughout my entire listening I could not help feeling tangled in every soundscape. "Show Me the way to that Old Oyster Bar" is definitely the most driving of the album in regards to a 'traditional' take on music. My two favorite tracks are the closers, "No Shelter for a Kitty Cat", which follows the protagonist waking up to a beautiful day. The story quickly changes when a cat greets our narrator at their window. Our narrator never gets out of bed and transcends into the body of a cat with no where to rest and no where to hide. Again, this track features various field recordings and electronics as its lead and an electric guitar guiding the melody in the background. The closing track "On the Sleepy Side of Things" is a great conclusion to this surreal experience, calmly portraying the end to these adventures for today. The album finally closes with our narrator yawning and snoring away to a drum machine as if to say goodnight.

- - Julienne Pasta

Friday, March 23, 2018

SETH GRAHAM “Gasp” (Orange Milk / Noumenal Loom)

[A collaborative review; italics: Jacob An Kittenplan; roman: Ryan Masteller]

“My desire is for you to stop being a fuck wad.” —Seth Graham

“No, seriously, stop being such a fuck wad.” —Seth Graham

“Gasp!” —the national media

“Damn, that’s a good idea.” —Seth Graham

The anger distilled into chaos. The chaos splattered with pink slime. The slime-coated chaos sprinkled with jimmies. What melts in the minds of humans hardens into EQ spikes, like the dying final breath of a bassoon clicking with precise afterlife.

Seth Graham killed a bassoon. Let’s not lie to ourselves.


Master of juxtaposition, servant of none, what hath “The Cream” (or was he “The Juice”?) paired seemingly effortlessly this time around? Staccato and Legato, for sure, as percussive scattershot slices and dices through most modest swaths of reverberating, disembodied consonance. And surely acoustic classical instruments and ccllaassssiicc MIDI culture and cheese get the brain all congested and discombobulated, as does the electroacoustic phenomena wiggling all willy-nilly alongside (Inside? As Above and So Below?) the equally dished out electronically limited glitch?


Barfing classical music in a free-jazz whirlwind, Graham’s computer somehow makes its music with Photoshop while jolting the maestro himself with electricity, probing his mind and freezing his hands to the keyboard via 2400 watts of pure <em>juice</em>. Is the computer sentient? Is it running Orange Milk Records? We have to ask these questions, you know. These days it’s confusing to understand what is source and what is output, what is composed and what is random.

But then again, Seth might just be having a go at us.


How, like, seriously playful? How lethal said whimsy? How much “ITAKEITBACK” must a sonic posit make before being completely forgotten? Such are the conundrums within the wizardrous mixing of Gasp.


That brain of yours has got to crack right down the middle, like a boulder-battered windshield, before it can reconstitute any of this. Seth’s laptop screen is a blank spider web of blunt force trauma, the contents of its hard drive backed up to a lake where an entire orchestra wanders knee-deep in the shallows, attempting to play from memory everything Seth’s ever created.

Don’t you get it? The orchestra is the hard drive!


Keep in mind that under zero conditions could this album be actualized (with 80% fidelity) live.


And it’s soaking wet.

This is modern classical!

Brain, meet retooled functionality. Orchestra, meet your greatest performative challenge.


One cannot pair the jangle of pocketed pennies with fiercely pounded tympani, lest it be expertly curated.


When we have listened to ourselves, to our forebears and contemporaries, we can eschew obligation – along with things such as “structure” and “modern technology” – and metamorphose into that great incandescent magma-like density, hovering without gravitational limits or buoyed by heretofore unknown space-metal pinpricks. Such is the magic of the OM, that time and space are suspended to allow for these timbral and dynamic extremes to parley, interweave,  s-t-r-u-g-g-l-e, crystalyyyze and, really, like, to really get the fuck down, to get the fuck w-e-i-r-d, for the sake of psychoacoustic partying! And there stands Gasp above the pulverized remains of our former selves, heartstopping, jawbreaking joy in the face of everlasting fuck wads. What is there to understand here? Smash the bassoon! Gasp into the void!

-- Jacob An Kittenplan and Ryan Masteller

Thursday, March 22, 2018

“Always On” (Valley Heat Records)

Heavy rock has fallen out of fashion in music in our modern times. But don’t worry, The Dollar Bill Murrays still remember how to rock. With this band you’re getting fuzzy guitars, pounding drums, and vocals that show a knowledge and sadness beyond the years of the person they come from. One thing I really enjoyed about this band is even though they are a heavier band the slower songs and ballads flow well, they don’t seem forced, not like what you’ll see with many other similar bands.
Favorite track: I Want Everything (Acoustic)
I know what you’re thinking, but that’s a cassette exclusive, we can’t get that on digital download. Well too bad, this is Cassette Gods and that’s my favorite, besides digital download gods just doesn’t have the same ring to it.
So kick back and get ready to be a little sad, but in a good way. 

-- Drake Douglas     

Wednesday, March 21, 2018

VARIOUS ARTISTS “Swamp Comp: It Came from the Midwest” C60 (Woody Records)

You’ve got the right to remain violent, so says the band Johnny Switchblade three tracks in to “Swamp Comp,” and that’s probably as righteous a tagline as any for this massive 20-track punk collection of the best miscreants the Midwest has to offer. I feel like I’m in high school again discovering lo-fi punk rock for the first time. There is no shortage of snottiness or rambunction, and of course there are great band names aplenty like Cuddles, The Biff Tannens, Bike Power, and, the punkiest of all, The Hemmorrhoids. Too bad Warped Tour is a big steaming bag of garbage, otherwise the artists on this comp could tour the hell out of it and rake in a bunch of dough. It’d be better than any previous iteration of Warped, that’s for sure. Is Warped Tour even a thing anymore? Who cares.

Swamp Comp is limited to 500 copies. Buy from …? I dunno, help me out here, crowdsourcing!

Woody Records Soundcloud

--Ryan Masteller

Tuesday, March 20, 2018

"Fissure” C46
(Eh? Records)

NoisePoetNobody generally deals in motor-like, textured modular synth combustion, but here, on “Fissure”, he’s joined by Eveline Müller and her cosmic host of meditation-focused instruments. Now, from your own home, you can bear comfy, pajama’d witness to soundhealing’s mélange of tuning forks, singing bowls & a great many other coaxed metallic objects, all of them blending in and/or standing out from said NPN motordrones, plus a few other home-crafted noisemakers. The timbral yield is dynamic, as are both arrhythmic sputterings and free-ringing decays. The mixing is spot on, which makes you feel like you’re in an intimately candle-lit warehouse.

Great stuff to zone out to, or play “track the elusive groove”. I can dig it, man.

-- Jacob An Kittenplan

Monday, March 19, 2018

CONVIVIAL CANNIBAL "Death Dubitabulis" (Ignorant Ear Tapes)

I don't know what the fuck I'm hearing, which is probably, sometimes, the point.  Other times there's a guitar.  I hear very bass-fucked-overdriven feedback noise, like you just dropped a microphone inside of a speaker cabinet and let it drive itself. 

With titles like [i can't read this shit] and i can't really read this shit either (I can't read this shit,) you get exactly what you expect, if you knew what to expect based on the cut-out minotaur that doesn't fit in the case and the sort of card-stock hard-to-read deal that's the jacket and the blank cassette.  (actual song titles are things like Assassins Of Our Youth, Population: Liquid, Society Senectitude, and Curveless Crookedness, in case you're actually looking for information here.)

This is brilliant if you're looking for something that makes you wonder if you're shit's fucked up (or maybe my shit's just fucked up,) with voices from inside the capsule of a moon rocket, except the voices are talking about scrabble, maybe, or what's for dinner.  (Nobody's talking about anything, as far as I can tell.) And that's probably the point. My mind puts into this what it wants, and when that's not "fuck is my shit broken?" it's "I could probably use this in the garage this halloween to cover up the actual screams." 

There is a success achieved here, a dark and frightening cauldron of noise, sloshings, backwards things buried in that broken speaker cabinet.  Some little dude in the corner keeps asking if I'm sure about that.  I'm not.  This low rumbling speaker broken rocket thrust sound is overwhelming, and though it's certainly not making me shit myself, I'm listening in the middle of the afternoon and the sun's still out there and I'm glad for it. 

Probably the way tapes ought to be used, this mess of downtempo fuckery, sampling and weirdness, in the jacket with the name of the album spelled differently that it is on bandcamp ("dubitabilis" online, "dubitabulis" in the jacket that looks very much like a photocopied, dirtied up collage of death imagery and song titles that are hard to read,) this is DEFINITELY something you want on cassette more than any other medium.  Feed that noise from that deceptively thin piece of ribbon with all that magnetic magic on it right over your metal play head and ignore anything anybody has to say about it. 
The package matches the chops, here, and though there's nothing groundbreaking or surprising, this is solidly compelling and will be useful on halloween, during ritual sacrifices, or if you just like listening to dark, droning sounds that, somewhere in the chain, definitely encountered or caused some broken shit.

-- Kingo Sleemer