Friday, April 13, 2018

Background Music

Available now on Absurd Exposition, 30 minute tape of recycled synths and field recordings, not entirely removed from the material in Intensive Care that isn't bass/ drums/ vocals.

Unfortunately i can't make this available for streaming/ download currently.

Tuesday, December 26, 2017

Everything has its Price


New Intensive Care record, available here, released on January 26th.

Art by Ashley Hohman.

Two songs, 300 copies, there was a conscious effort after Voyeurism to write a record that was a more  straight forward two guys playing music thing, this is sort of that.

The songs on this record deal with the anxieties created by living in modern cities.



Monday, December 18, 2017

Our Earth's Blood



New release on Survivalist, available here

Pro-recorded and mastered 90 minute Bastard Noise tape with side long collaborations with Hiroshi Hasegawa (Astro, C.C.C.C.) and Facialmess.

It came out pretty great if i do say so myself.

Cheap shipping options available.

Seek the Way Amidst the Ruins

I recently did a remix for Toronto guitar drone ensemble Gates.

My approach was to take elements from the original track and rebuild it with new processing, layering newly filtered elements, keeping a repeated refrain from the original piece to anchor it.

The layering was loosely inspired by various early 70s recordings involving Klaus Schultz and Conrad Schnitzler.


Sunday, October 22, 2017

Wolves of Heaven Vs Full of Hell



Earlier this year Full of Hell asked me to record guest vocals on a song on their new album (i sing the middle part of the song Ashen Mesh) and to submit a remix of the title track for the Japanese pressing of the album (released by Daymare)

I just put my version of Trumpeting Ecstasy up on SoundCloud, rather than giving them the noise drenched everything in the red mix i suspect they wanted i pulled most of the elements out and gave the song some more space than it originally had.

This track is not a dub track by any stretch of the imagination, but the techniques i used all came from  my interest in and reverence for dub music. I've long felt that anyone with an interest in experimental music who does not investigate what was happening in Jamaica in the 70s and 80s or doesn't spend some time really immersing themselves in production techniques of late 80s hip hop - particularly The Bomb Squad's work from roughly 1988-1991, is seriously missing out on some phenomenal music and approaches to composition and recording that were not being done by anyone else at the time.

I love rubbish tape hiss noise and stuffy old academics from Europe as the next guy blogging in a bootleg Throbbing Gristle shirt (as i am right now), but the work of people like King Tubby, Scientist, Adrian Sherwood, Hank Shocklee, Eric Sadler, Keith Shocklee, and Chuck D is as vital to my understanding of sound as anything by Pierre Henri, Pauline Oliveros, Lustmord, Einst├╝rzende Neubauten, Macronympha, Faust, or Delia Derbyshire is.

Recommended reading:

Michael E Veal (2007) - Dub: Soundscapes and Shattered Songs in Jamaican Reggae
Christopher Partridge (2010) - Dub in Babylon: The Emergence and Influence of Dub Reggae in Jamaica and Britain from King Tubby to Post Punk
Brian Coleman's three books on hip hop (Check the Technique volumes 1 & 2, and Rakim Told Me)

Recommended listening:

Augustus Pablo - King Tubby Meets Rockers Uptown (1976)
Scientist - Best Dub Album in the World (1980)
African Headcharge - Environmental Studies (1982)
Public Enemy - It Takes a Nation of Millions to Hold us Back (1988)
Ice Cube - Amerikka's Most Wanted (1990)

Friday, June 16, 2017

Voyeurism



Voyeurism 12" available now from Anthems of the Undesirable and Divergent Series.

There are two broad thrusts to this release, the first is that art that attempts to depict an honest social reality through suffering and poverty is exploitation, no different from any other type of exploitation, and in attempting to portray a version of truth the artist only obscures their motivations of capitalizing on other's existences.

The second aspect is that artists whose alienation is realized through lazy nihilism do not have any great insight into the human condition and would do well to remember that their gaze is returned.

As a society we demand the poor and oppressed display their humanity and shame for us in order to be redeemed through pity, distanced socially conscious art is one mechanism that supports this way of thinking.

Opinions are like assholes, as always I remain open to discussion of the nuances and grey areas via e mail.



Sublimation is our track on the Iron Lung Mix Tape Volume 3, i think we decided we wouldn't rerecord it for anything else. You can have our song for free if you like.

Monday, December 5, 2016

Ghost Ship

It's been a while since I've been motivated to write anything that wasn't "I play on this release, please buy it"

When three members of The Exploding Hearts lost their lives when their van crashed driving home from a show in July 2003 many of my peers could relate. We’d all been there; long drives late at night, desperate to get home to our own beds, going back to work on two hours sleep after returning from tour, pushing ourselves to physical limits.

With the news of the fire at Ghost Ship in Oakland and the – at time of writing – death of 36 people in the space there is not one of my friends, be they producer or consumer of culture, that doesn’t understand the tragedy that’s occurred and hasn’t recast their own personal involvement in DIY culture with new endless “what if…” and “it could have been any of us”.

It could have been any of us.

We’ve all been at the dangerously overcrowded post-fest show in the local DIY space, unable to even go to the bathroom, suffering varying degrees of anxiety attacks in our hard won inches of space, we’ve all been to a venue that was a concrete underground bunker with one wooden staircase to enter, those of us in bands have all loaded gear up the rusty fire escape – the only way in or out – into the third floor apartment over the bike repair store, and those of us not in bands have all been to that space, carefully edging our way past smokers in Discharge shirts hanging out on that one rusty fire escape we all have to use.

It could have been any of us.

But it wasn’t and let’s not take that away from the members of our community that lost their lives in the tragedy last weekend in Oakland.

I’ve talked about this before, but as I get older my interests in music and culture rarely lie strictly within genre lines anymore, they lie within the methods we create, perform, reproduce, or consume culture. My interests over the last few years have taken a sharp turn towards the spatial, an aspect of culture I was always involved in, but went by largely unnoticed or uncommented to me. It was a natural progression; how else do I explain my continued interest in how culture is produced, whilst being frequently disappointed with many of the cultural products that are produced? How do I find ways to understand the necessity of punk when most punk means little to me now? How do I frame the politics of punk when they’re barely present in lyric sheets, when bands are regularly being called out, and when the digital era makes the means of production and distribution something that everyone does regardless of intent? Is there even any point in framing a politics of punk in 2016?

To me the politics of punk that are consistent are the politics of space, the politics of producing space, the politics of producing culture within our spaces. These politics are not new and they are definitely not exclusive to punk, they’re a facet of all cultures that are outside the field of large-scale production, from Sound Systems that have their roots in Jamaica in the 1950s, to late 80s UK Acid House culture, to the huge network of squats and autonomous venues of Europe, to the warehouse scene of the Bay Area and much more beyond these examples. Culture requires space, culture modifies the space it is created within, space modifies how culture is created and consumed, how culture is shared and participated.

So frankly, I don’t give a fuck if you don’t like the music that was playing at Ghost Ship on December 2nd 2016, it’s not relevant; these people were doing the same shit we do. They were regulars in our world too; in 2016 there is significant overlap between cultural fields, that strict separation is long gone. These are our people, our community, our politics, our strategies, our tactics.

In times when cities promote competition and economic entrepreneurship, and make decisions based on cost-benefit analysis and not social need, when gentrification means barely anyone can afford to live in cities, when development means there is a rental crisis, and our spaces to do anything beyond drink expensive cocktails, buy refurbished driftwood coffee tables, or line up to buy artisanal bread at the farmer’s market are gone how we create and experience culture matters. How we work towards collaboration over competition, how we work towards collective interests and not towards reinforcing the same atomized individual experiences, how we pursue politics that don’t commodify individual identities, these all matter. How we produce knowledge and culture matters. How we promote alternative economic and social practices matters.

What is happening in Oakland is a tragedy on multiple levels, this isn’t kids dying at a rave, this is not carefree hedonistic millennials perpetually in search of the next high-risk, low responsibility thrill.


This is one hundred fucking percent not that.