PULSE EMITTER
“Through the Portal” (Phinery)




Through the Portal begins as a dystopian masterpiece and ends as a three-dimensional polygonal masterpiece, the use of “masterpiece” twice (and now three times) being the main point of reference for any potential listeners out there. Pulse Emitter, aka Daryl Groetsch, is essentially a national treasure, having released a literal ton of music since 2004 – seriously, if you placed all the cassettes and all the vinyl ever pressed on an industrial scale, you’d probably get close to a ton. Maybe I’m exaggerating, but I’m not exaggerating when I say that entering this portal, passing through this portal, and emerging on the other side of this portal is an experience that will transform your life in real and magnificent ways. Or it will, at least, make you feel better about yourself for a while. In either case, Through the Portal is a continuation of the Portland (OR) musician’s modular synthesizer excursions, the pieces at once melodic and ruminative, easily absorbed in the background or engaged with full throttle at the fore of your focus. Actually, it’s probably best to tackle this stuff up front, as it’s masterfully crafted and worthy of the stranglehold it puts on your attention. In fact, once you enter Portalandia, you may never return from Portalandia. Get it? Portal-landia. Because he’s from Portland and there’s that show. (I amaze myself sometimes. Does that say “amaze”? I meant “amuse.” Sort of.) And while Groetsch is perfectly capable of churning out release upon release reflecting his own interior within his own style, there are hints toward other purveyors of similarly trailblazingly tranquil and/or illuminating vibes. “Teal Forest Droplets” recalls prime Ferraro, while “Heat Haze” could be a Badalamenti update for the forthcoming new season of Twin Peaks. But all of this occurs in Pulse Emitter’s world, and it’s his rules that we’re playing by here. I urge you, then, to strap in, because, take it from me, you are powerless to resist the excellentity and magnifitude. In fact, as you stare with wondering eyes at Through the Portal on Phinery’s Bandcamp page, that little voice you hear is not in your head – it’s real. “Buy me!” says Pulse Emitter’s Through the Portal, nestled snugly within its link, ready for your Paypal credentials. You’re powerless against it. Your wallet opens. Your money is set free.




--Ryan Masteller

SIGILS
"Hours of the Wind" C23
(Track Number Records)




Early 90’s
Front Line Assembly
Soundscapes, meets
psych/trap, living(room)
hip-hop,
beat producers.
Out LA.

Ambient lost-
Getting. Good.

Yesh. Goot.

and/or


-- Jacob An Kittenplan

DR. SOMETHING
"Rustic Machinery" C23
(Self-Released)




On this criminally short 5 song EP, PDX’s Alison Dennis manages to make keys, clarinet, drums and vocals sound like a raucous orchestra in full swagger. Her theatrical bent and mastery of the counterpoint prove both innovative and playful and really, really shouldn’t be glossed over. While the first song’ll have you singing “I want to live in your sweat glands” at odd hours of the day, it’s the second and third song that belong on everyone’s weirdo-prog-indie mixtapes, back to back. That special someone you make it for will be asking for more, so you better hope Dr. Something delivers another dose pronto!



-- Jacob An Kittenplan

BANG MESSIAH “The Ghost of 89” (ABSNFC)




This is a collection of classic-sounding beats, a party mixtape with a feel-good vibe. The label is called Another Bullshit Night From Cleveland--but it’s not from Cleveland, it’s from Amsterdam. A Cleveland expat is over there dropping old school beats with his Dutch friends--it sounds good.

http://www.ABSNFC.com


-- Kevin Oliver

ERASUREHEAD “Yauhtli”




Come experience the bliss, this is it. Noodly space jams made by the Wandering Mind in his private lair--a room of shadows and twinkling joy and thick flutey basslines and first-rate whimsical loner vibes. The air gets lighter and glowworms fly through. There are lyrics printed for one song, “The Earth”:
“I need the earth

There are lots of people on the earth
There are lots of plants on the earth
Each one is different
Each one is special
In many different colors
and we all started quite small
we all love to play

lets keep it clean

the earth is surrounded by air
we all live on earth and we breathe
we breathe the same air

its fun to feel the air
on your face
you can taste the breeze
you can listen to the wind
clean air is oh so wonderful

I need earth and the earth needs me
I find from day to day that I use the earth to fulfill my needs
I use the earth while the earth waits for me
Waits for me to die so I can lie and decompose

and while I rot I hold
that picture in  my heart”

Our exceptional one-man-band is a charming mumbler when he gets on the mic, so having the lyrics printed here adds to my enjoyment considerably.  This tape is excellent, oozing with sticky keyboard riffs and joy for the soul. The album title refers to a plant that the Aztecs used in death ceremonies and later was smoked by the practitioners of psychedelic visionary experiences; a few seeds in a skull-print baggie are enclosed in the tape package.

-- Kevin Oliver

BUS GAS “Live On Leave Us” C27
(Spring Break Tapes)




On “Top Ten Funerals,” Bus Gas slather deliberate coats of synthesizer tones and various other loops on top of each other until the entire fourteen-minute composition is a viscous iridescent lava flow more suitable for drastic landscape change (if the landscape was composed of marshmallow) than overt introspective heart-tugging. I get it – thinking literally about the concept of “Top Ten Funerals” is a silly thing. First, I haven’t even been to ten funerals (thank god), so I can only back away and chuckle to myself a little bit when considering a list exists somewhere for someone who has a) been to enough funerals to be able to even make a list and b) has the constancy of character (I guess) to rank one funeral ahead of another for whatever reason. I can’t even fathom the idea. It’s funny to me. You may fail to see the comedy in the track, but it’s there.

I doubt the collective known as Bus Gas set out to make me smile like this, but the Nebraska drone crew sure does plaster a grin all over my face regardless. Divorcing myself from the absurdity of the concept of “Top Ten Funerals,” it’s easy to get utterly lost in the majestic waves of pure tone that almost literally (I mean, I’m picturing this music liquefying and spilling out of my speakers, to be sure) wash over me, fully encasing me in their physicality. It’s almost amniotic within the secure environment of this music, but it’s filled with enough tension in its chord progressions to serve as a reminder that we’re out here in the real world, sort of. “Infinity Cymbals” continues unbroken from “Top Ten Funerals,” but there’s nary a percussive instrument to be sensed. Guitar is the main event here, and its majestic presence is underscored by a continued multitude of synthesizer flourishes, less thick, sure, but no less gloriously iridescent. More intensely focused on disruptive behavior than on ambient therapy? Absolutely. Still, Bus Gas’s sonic magma flows from fissures in conscious reality, and once it is upon you, there is no escaping its density. Perhaps life is lived better that way. For me, I’m still smiling upon this marshmallow bedrock, content to let Bus Gas do its thing and terraform the whole shebang right in front of me, and over me, and even through me.




--Ryan Masteller