R. LEE DOCKERY & SMOKEY EMERY
“Cathedrelic” C50
(Astral Spirits)




The title “Cathedrelic” sums this tape up to a T; the psychedelic ambiance of the reverberant cathedral now wrangled, mangled, distilled, and looped (See: William Basinski) into bite-sized snacks for the dissonant ear. Every eerie city noise you could ever recall is conjured up, battered, and bounced around for your removed, clinically observant pleasure. I’m not gonna spoil the surprise, but the climax at the end of side A is more than memorable.

Best listened to while watching Kronos or walking around abandoned train stations.

and/or


-- Jacob An Kittenplan

WILLIAM CODY WATSON
“Patriot” C43
(Lime Lodge)




Excellent soundtrack for watching your horse slowly, stoically sink into the quicksands. With just the right balance of cold, clinical trebly texture and layers and layers and layers of sustained minor key, melancholic swells, I could not possibly ask for more from a drone record.

and/or


-- Jacob An Kittenplan

DEADBEAT “Big Forever”
C36 (Already Dead Tapes)




“Don’t you hate pants?” I shout into a microphone from atop a stone lion outside the New York Public Library on 5th and 42nd, fully aware that my life has become a complete and utter Simpsons reference in, like, not a good way at all. Here I stand, in front of a thousand New Yorkers, each one as depantsed as I am. My boxers are all that stand between the outside world and my inner secrets. I hold my jeans aloft with one hand, a lit Zippo beneath them with the other, just waiting for the right moment. It takes me a second, but as I focus on the crowd, I begin to realize they remind me exactly of that underground lo-fi experimental electronic rave I went to six and a half years ago in a church basement. As the beats and way-out grooves violently shook the floor and static coursed through the PA, electrifying the out-of-control partygoers, a miraculous thing happened, like St. Elmo’s Fire overtaking the entire room: everybody, as if prodded by extrasensory perception, simultaneously removed their pants and continued dancing, as if nothing had happened. Back in the present, crowd buzzing with anticipation, a thousand lighters held under a thousand pairs of pants, I realize the true origin of my inspiration, and I press play on my old-school yellow Sony sport Walkman. Deadbeat’s brand of noise-inflected technological beatscapes course through my headphones (along with the Panda Bear–esuqe “Unstable Influences” and the alt rock of “Won’t You Meet Us in Vegas?”), and when the tape ends, I realize I’ve been standing there for eighteen minutes already, and everybody’s starting to get nervous. Well, I think to myself, there’s no way this day’s going off without my Big Forever, no matter how hot my fingers are getting. I look each and every person there on the street right in the eye. Slowly, I raise my lighter to my outstretched denim and set it ablaze. A thousand lighters follow suit, and the sidewalk in front of the library becomes infinitely brighter as khakis, sweats, suit pants, cargo pants, and bellbottoms, among others, go up like torches. Everyone begins to cheer, and I deign to share my Walkman with them, plugging it into the PA system so they can hear side B repeat the program along with me. Before pressing play, and gesturing to the smoldering remains of my 501s on the ground, I say to the massed audience, because I can’t leave without finishing my life-as-Simpsons-reference train of thought, “Those things were driving me nuts!” Applause. Big Forever side B. Tape flip. Big Forever side A again. Cops arrive.




--Ryan Masteller

PHILIPPE LAMY AND MONOLOGUE
“Blu Deux” (Phinery)




These electronics, am I right? Seemingly unending possibilities. Never know what you’re going to get out of them. That’s sort of the best part, though, isn’t it? Always the potential for surprise! Even more interesting, then, when you can get inside the machine, see what’s happening under the hood. That’s where Blu Deux comes in. It’s a concoction, an experiment, a constellation of sonic manufacture that begs intense scrutiny. Sound artists Philippe Lamy and Maria Rose Sarri (aka MonoLogue, aka Marie Rose, aka Moon RA) stretch the concept of “partnership” to a weirdly logical destination, one where their collective minds can tap the subatomic structures of sonic waveforms. I don’t even know what that means, the words are just issuing from the electrical impulses in my own brain. And that’s sort of what “Blue Two” (in English, sort of, not sure why that’s important to you) is, the product of electrical impulses from two brains, captured by audio software and manipulated into finished products. Patterns are fleeting – these tracks are explorations of the rabbit holes down which sounds can travel, and Lamy and Sarri are both adept navigators of these metaphorical tunnels. They barely bounce off the walls! That’s saying something – these are pretty narrow spaces. Anyway, the seemingly unending possibilities of electronics must be contained at points within a finite space, and there’s only so much magnetic tape within a plastic cassette shell, so Blu Deux has to unfortunately begin and end. There’s no infinite cycle to hitch a ride to or echo chamber to report back. No matter how hard Lamy and Sarri try, they are bound by the limits of time and space, of physics. At least we get a snapshot, a slice of time, to reveal what they’re capable of. 





--Ryan Masteller

HAKOBUNE “Impalpable Ashes”
C40 (Ghost Organics)




Today is Hakobune day. I just finished writing up a quick blurb for his tape In Arboreal Whispering for my (late) coverage of Constellation Tatsu’s fall 2016 cassette batch over at Critical Masses, and I figured I’d hit up his Ghost Organics tape today as well. (Don’t think that link takes you to the review; I’m writing this before it posts, so you’ll just have to look at the front page of the site – with your eyes – to find it.) I like the idea of repeating myself here, too: “His style of layering ambient guitar textures on top of one another results in some of the most gloriously tranquil sonics laid to tape.” Hey, that still holds true for Impalpable Ashes, and what’s weird, there’s a track on here called “Airworthiness,” but there’s a track on the Ctatsu tape called “airworthy”! Pretty cool. Hakobune – real name Takahiro Yorifuji –  is apparently as self-referential as I am. Does that make us best friends? Hardly. At the other end of the spectrum, does that make us insufferable know-it-alls? Well, I’ll let you debate that about me, but it’s certainly not true in Hakobune’s case. He just happens to be personally enlightened, and he projects that enlightenment through his myriad cassette releases. It’s hard to go wrong choosing a Hakobune tape, and Impalpable Ashes looks and sounds as good as the rest of the dude’s oeuvre. Ahem: “Sheer bliss. Keep ’em coming, Hakobune.” Sounds right. So why don’t you take a moment out of your day and zone out to this. Has it gotten better? Are you in a better mood? Now tell me who’s an insufferable know-it-all. (It’s still me.)




--Ryan Masteller