Output 1:1:1 is currently preparing for the release of his upcoming EP “Retroactive Rock Record”, due out on November 1, 2019, and has been kind enough to share with us the premiere of the second video, Directed by Elias Campbell and single from the album under the same name, “Retroactive Rock Record”. The track blends slow moving hypnotic vocals, dark plucked ethereal synthesizers and strings, and lush, ominous and lonesome sounding electronic background sounds. The sound of “Retroactive Rock Record” tells a dark and confusing story about confusion, loss, the unknown. The tones blend together perfectly to create at once a hopeful, albeit slightly unsettling sonic vibe. Take a look at the video below and make sure to pick up the album on November 1.
: “Writing this song was incredibly freeing, despite the central idea of it being a complete lack of control. I wrote the lyrics of the song the night of the 2016 US election. I felt a sense of helplessness swell as Trump’s election became inevitable-Canada seems to follow US election cycles pretty closely. I think helplessness can really encourage shame-the sense that I’m terrible and I am in this mess because I deserve this. It takes a lot more than reinforced positive thinking to work through, and writing this song was an attempt to redirect my helplessness into creating something.
If “True False” doesn’t destroy the world, it might just save it. I’m not one bit sure which would be worse. I dare anyone to listen on headphones walking through San Francisco’s Twitternob at twilight as socialmedia workers disperse and sidewalk-blanket markets roll out. Embracing the eviscerated stupidities of consumer society and then fighting to get free of those same idiot entrails now draped across your brain could make Negativland your solo silentdisco dance craze. Inside your head will be not only the sounds of marketforce lunacy, but the ghost traces of three Negativland members who’ve already shuffled off this mortal coil, Ian Allen, Don Joyce, Richard Lyons, kicking their heels at the Earth, the butterfly’s butterfly effect, and members still enfleshed, Mark Hosler, David Wills, Peter Connheim and Jon Leidecker with contributions from Ava Mendoza, Nava Dunkleman, M.C. Schmidt and Prairie Prince but their work is swept into a torrent of sampled language and sound, the electrocuted-elephant effect.
Since we’re all of us asleep all the time and find ourselves only occasionally awake on top of that, it occurs to me Negativland works the same way the human subconscious does. Both are made of always-on memory and an involuntary urge to chew up whatever isnt already pink slurry, gnawing in search of that single calorie of nourishment. The transcendental moment may be when you recognize it’s all going down the hatch anyway, out of sight, out of conscious mind. Like the gut, the subconscious isn’t built to chuck things back up for inspection. But barfing is underrated. Like food industry slurry, the ideology industry perfected its methods, designed to evade inspection, no eyes on the kill line, packaged for volume consumption. Negativland is underrated, their music serves as spectacular emetic, geysering your feed to sandblast the monolith of fiat happiness.
“It is Californians’ God-given right to water their lawnsYou know, there is no way to argue with thatPrint the manifesto print the manifestoDo you own research.No way to argue with that.Except with explosives.”
Of the multiple contexts Negativland evokes, mid-20th century ad-man polish has become their arch brand. The smiling voice that locates us in inert collective conscience, situating us in the vacuum space of capitalism’s dominant cultural mode: the con. Having seized pop music and advertising’s means of production, Negativland have long been masters of the weaponized ear worm. Each wriggler is impaled on a barbed hook of dense wordplay, segmented samples sourced from the mediasphere are always-already persuasive, wriggling mashups that compel close-reading at first just to hear the slogan, but then to anchor the preposterous and political contexts from which each source has been sampled. Unabashed about dense language and conceptual complexity, those who refuse to listen will still find their minds on the hook. They may suffer, commercial jingles rendered undigestible by semantic clusterbombs, their preferred identities and rationalizations perpetually stranded between disbelief and stalled rebellion. Close listening requires a doubling of cognitive dissonance, the line, the sources of the line, infrasectionality with the world before you. This doubling is itself a survival strategy for life under late capitalism, to ditch habituated scripts and act in the incomparable present.
“My life in the woods has been ruinedStand by.Pending final test.This noise!Wonderful isn’t it.The sound of American inventiveness.I may go mad.But think of the future you have. Isn’t it our responsibility to bring that about? Stand by. The question is lost in the sound of the explosion. Unfortunately. We. You. We are not destroying anything. We. And the creatures that assemble your phone. It’s easy to imagine the end of the world.”
The album includes a booklet that warns “Play twice before reading.” Inside, the crafted lines are transcribed as lyrics so reading without listening separates each verse from the aural context of each sample. Pulling sources out of context is the most basic method of propaganda, but Negativland makes poetry from propaganda inviting us to another possibility entirely. The poetry of “True False” asserts a politics that doesn’t need to preach or cancel when it can surpass by wide margins of wit and a call to run, hide, then fight back. “True False” bears vital witness to floundering habitually disingenuous simplistic cons that paralyze collective action. Desire and derision may yet survive the slurry to congeal again, the Golem of post-consumer conscience.
Listen To THE BEDROOM WITCH hauntingly nuanced and beautiful new album “DIASPORA” out this Tuesday 10/15 on Oakland’s Psychic Eye. Full stream and preorder link below.
We’re proud to bring you the full album stream of Diaspora from LA recording and multimedia artist Sepehr Mashiahof‘s BEDROOM WITCH project, coming out on Psychic Eye this Tuesday, October 15th. Diaspora elegantly blends, lush, haunting synths, big ethereal swells and intricate percussion all coalesced through Mashiahof’s beautifully haunting and complex vocal delivery. Diaspora invites the listener on a foggy, dimly lit path through orchestral-like passages of a journey to an unknown land. Warm, mid-tempo plucking synth arpeggios create a driving yet ethereal background for the artist’s voice to shine through a distant dream haze. Channeling sonic references from Kate Bush to Alice Coltrane and Iranian folk music, The Bedroom Witch creates a sonic conceptual journey into another world.
In the melancholy of the new album’s narrative, each song weaves together messages from ultra-dimensional entities that describe a way to overcome the core struggle in the first generation immigrants’ experience—alienation in a new world. Recorded and mixed by Mashiahof and released by Psychic Eye Records, Diaspora investigates the Bedroom Witch’s origin story as an Iranian-American Trans Woman.
“I kept seeing visions of women in veils obscured by cool lights hovering over me to a point where it really started to click that there was this other part of myself that I had abandoned through the diaspora. So, I wanted to tell an epic-style story that spoke to the immigrant experience.” – The Bedroom Witch
Make sure to head over to the Psychic Eye Bandcamp page and order your copy today. Highly recommended. The album release show happens 11/9 at Pro Arts Gallery & Commons w/ Mystic Pristess, V.E.X., Scissoring, & Dès Vu. 150 Frank H Ogawa Plaza. Oakland, CA 9pm $10
Ok so once in a while something so twisted, mutated, alien and sinister lands in the inbox and what a rare joy this situation is, and that’s exactly how we would describe the new album “AXIS” from Brooklyn based producer Bonnie Baxter, which, by the way is out NOW on the esteemed and never disappointing Hausu Mountain imprint, and you should go buy it right now! On “AXIS”, Baxter blends chaotic electronic blasts of sputtering, broken IDM rhythms with chopped and mutated alien vocal transmissions. The pacing and intensity are both set on high as Baxter belts forth a scattering array of tempo, time, and timbre changes seemingly on the neckline of a dime, all while creating a dark, unsettling yet unifying and coherent collection of tracks. This is maximalist music for an alien invasion where the beings slice open the ear, amplify it and reconfigure the soud intake structure; it is now inverted and begins omitting violent, brooding, and cynical laugh tracks for the apocalypse. Some tracks such as, “Spirit Enema” focus on more minimalist, albeit twisted takes on IDM/House music percussion with ominous shifting tones backing childlike vocal tone poems. Despite the often whimsical yet twisted vocal presentation, the electronics hold their own and never stalemate, every sound within every track is a now sonic discovery that adds depth and complexity to the album overall and the track within itself.
Other tracks like the later “Celestite” offer lush undulating muffled brass like textures which give breadth to complex yet minimal percussion tom lines as well as wells of elegantly placed reverb and delays, all sitting beautifully and elegantly in the mix. The sheer range of sonic explorations sound wise, percussion and vocal wise is impressive in itself , but the fact that composition wise, this album flows so well, despite it’s wide chaotic reach and conceptual points of entry, drops it in the highly recommended category for us, don’t sleep on this, A+ twisted electronic jams!
Back from a little break to review the newest release from Houdini Mansions, from Cascadian producer qualchan, titled “Goodbye To All That”, and it’s a rather fitting title as the short, bending, warbling loops come into our lives like short lived, lush experiences that vanish into the haze as quickly as they appeared on the horizon. on “Goodbye To All That”qualchan focuses on subtle shifts within these micro compositions that span ambient, post rock, muzak/library music and more. Some of them operate as escaped breaths from larger compositions, perhaps to be expanded upon, while others are self contained and don’t seek anything outside of themselves. Warm, trippy, fuzzed out loops for a moist walk through an all but abandoned forest. Beautiful release.
DECAYCAST #031: GUEST MIX – HEADBOGGLE “Spill and Spell 1”
Fresh off the heels of his recently released synth exploration album on “Polyphonic Demo” Headboggle’s Derek Gedalecia crafts up a sonically diverse mix of archaic and contemporary experimental sounds for DECAYCAST Guest Mix series, enjoy!
Gedalecia: “I started open format college radio DJ-ing in the early 1990s and took a break when I moved to the west coast in 1997. From 2011 to 2013, I had a weekly show on Radio Valencia called “Greek Mind” where I would play the rare records from Blu Ray soundtrack transfers to flexidisc dubs while also featuring live remotes and on-air appearances by experimental noise artists. Spill and Spell starts a new era for my open format selections by way of a modern mix. These hourly episodes will be airing soon via New New World Radio in Moscow as well as select blogs and websites.”
00:00 The Shaggs – Sweet Maria (unrel reissue 7”, 2016, Light In the Attic)
02:20 The Outlaws – Crazy Drums (Valley of the Sioux 7”, HMV, 1961)
05:08 F.C. Judd – Children Playing (Background Sound Effects 7”, Castle)
06:33 John Davis – Idly Sit The Sun excerpt (Bimodal Press LP, 2018)
07:32 Pierre Henry – Difus (L’Occident Est Bleu reissue LP, Aurora Rising, 2016)