Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

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Compactor live at Knockdown Center, NYC during the No Workers Paradise release show. Photo by Kim Wirt.

Derek Rush is a man of many hats in the contemporary noise/industrial scene; like many artists these days, Rush has taken a ground-up, DIY ethos to his various musical projects, his imprint Chthonic Streams, his DJ sets, as well as mixing, mastering, and designing artwork for his releases. Many times, when artists spread themselves this razor-thin, for a myriad of creative, philosophical, and logistical reasons, aspects of the work suffer, or appear rushed, but not in the case of Derek Rush. His commitment to the preservation and documentation of the New York City and North American noise and industrial scene is impressive to say the least. Make sure to keep up with his various projects here and here.

Hello Derek and welcome to Decaycast. Can you talk a little bit about your current creative projects and what you’re up to these days both with your label, Chthonic Streams and related projects?

My main current project is as SysAdmin for Compactor. This means I’m overseeing the production of recorded Documents, and I handle tech, setup and breakdown of Live Shifts. Compactor is a machine, or series of machines, operated by a uniformed person called The Worker. The idea is that this is an anonymous figure who could be anyone, they represent everyone who works for a living. The project is a series of ongoing statements about work and its place in society, the dehumanization of people, the focus, fetishization, and trust in technology, the push-pull of how it can be pretty cool but also pretty destructive. In May 2018 Oppressive Resistance Recordings released the full-length CD “Technology Worship.”

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Chthonic Streams started as an outlet to release my own work when other labels are unavailable, as well as distribute the work of others I’m even tangentially involved with. Recently I’ve been expanding it to put out short-run releases of artists I like. I usually collaborate on some aspect, at least the design, sometimes a bit of mastering or even mixing, it varies. The latest release as we’re talking now is a tape by Endless Chasm, a dark ambient/experimental artist from Kansas. I also try to combine the release with a show I present under the Chthonic Streams banner with a variety of complementary artists.

As for other related projects happening now, I’ve been contributing to Theologian, which is the project of Lee Bartow. I recently sent him some melodic/harmonic elements which were turned into a track on the cassette “Reconcile,” and we have been sending files back and forth for the next major album, “Contrapasso.”

How did the collaboration with Theologian come about? How do you (if at all) separate the sounds you use for Compactor vs. the sounds you use for Theologian or other collaborations, and also how important is collaboration to you on general?
Theologian is Lee Bartow, but sometimes he likes to collaborate with others. We’ve known each other from a distance for years, but connected more in 2010 when I asked him to remix a song from my band Dream Into Dust. In return, he asked me to contribute to a project called Love Is Nothing, and then he sent me material which I added to along with others that became the Theologian EP “Some Things Have To Be Endured”. I mixed the “Forced Utopia” album last year, and I’ve been editing/producing material for the forthcoming album “Contrapasso.” The “Reconcile” album came about because of the Darkness Descends industrial festival in Cleveland put on by Stephen Petrus of Murderous Vision. Lee asked Stephen, Andy (The Vomit Arsonist) and myself to send material that he would turn into an album (mixed by Mike McClatchey of Lament Cityscape), and the four of us played in Theologian for the fest.

The mindset, sound, and material for Compactor is very different from other projects or collaborations. Compactor sonically is all about different textures of primarily atonal sounds. The material I sent in for “Reconcile” was very melodic and droning and in a specific key. In general when working on Theologian, I know what that sound is and where Lee is coming from, and I’m just trying to do something that goes along with that but adds a dimension he doesn’t usually do when working on his own, things like trying to add a different structure or little synth melodies and string parts.

I think in any collaboration, it’s important to find out what the other person wants and needs, which may not be the same thing. I’m mostly just trying to help their project be the best it can be to my ears. But in the end, they give the final seal of approval and may even change things I’ve done initially. I find that totally democratic collaboration often doesn’t work. Someone has to be in charge of a project and someone else in more of a supportive role.

Seems like the sounds of Compactor and your collaborative projects come from very different places, intention-wise. Oftentimes in experimental music artists can take an “anything goes” approach, but that might end up not working for every situation, or even many situations. Do you think noise and experimental music, more than other genres, emphasize collaboration, or on the contrary does it discourage collaboration and focus on promoting the individual. Is removing yourself from the identity of Compactor a conceptual move or does it occur for different reasons? 
I think noise music by its nature might not discourage collaboration, but it’s kind of unnecessary and sometimes a bad idea. With many types of noise, the more distortion and frequencies that are happening, the harder it is to fit in other sounds. It needs to have people even more attuned to each other than in conventional music, to know what and when to play or not play. Otherwise it can just become total white noise, filling up every space. There’s a place for that, obviously HN and HNW, but even one person can generate that on their own. So collaboration usually seems to come more out of a need for cameraderie and community. I think there’s a lot of loners, myself included, for whom noise has somehow had the opposite effect of connecting with others on the same wavelength. So it’s not like a rock band where you’re a guitarist who needs a bassist and drummer. You can do it all yourself, but you want your buddies with you, especially if they by themselves create something you respect.

Compactor being the machine, operated by the faceless figure of The Worker, is something that naturally came about from the early titles and imagery. It basically wrote its own backstory. Once that was in place, other details just obviously follow. The Worker’s story is a conglomeration of what goes on in this country and other parts of the world. The greed and inhumanity of corporations, the constantly working, often exhausted working class and shrinking middle class. It’s more important, and more interesting, to refer to these things than just say, wow work sucked today, I’m going to write a song about that. Because it’s not about me, it’s about everyone. And it’s sadly a pretty common feeling.

Can you talk a little bit more of the aesthetics of “The Worker” or “Compactor” from the mask/outfit to the unified aesthetics in the artworks well as music videos?

The predominantly black, white, and grey color schemes are just naturally bleak, and also give things a vintage or archival quality. A lot of the look of things is intentionally old, outdated, and ragged looking. For all the advancements in technology, there’s still a lot of old stuff being used by businesses that aren’t upgrading in order to save money. The Worker is kind of a personification of that, wearing a gas mask from 30 years ago, always the same worn-out shirt and work boots, and a generic cap, sometimes additional tools that are old, dirty, rusted or cheap-looking. It seems like a lot of companies are providing the bare minimum, or even leaving it up to employees to take care of their own uniforms or supplies.

Most of the videos in the past were outsourced to F Squared Media, who do some amazing work. Something to note is that there are never any people in them, in order to increase feelings of dehumanization and isolation.

Speaking of unified aesthetics, let’s talk about your imprint, Chthonic Streams. Most of your releases are rather involved with artist editions and elaborate packaging, including a boxset housed in a tool box?!? Is this true, care to elaborate?!

I’ve only started doing more elaborate packaging in the past few years, but have always strived to make sure there is really something to hold in your hands and look at. Also, it has to make sense and have a purpose. Although I appreciate albums that come with buttons and stickers, that’s not my thing. So I come up with images, words, and objects that bring the meaning of the music into the physical world.

The boxset you’re talking about is “No Workers Paradise”, which is 8 x 60-minute tapes, each one from a different noise artist. Compactor, Gnawed, Redrot, The Vomit Arsonist, Filth, Blsphm, Existence In Decline, and Work/Death each recorded a full album’s worth of material, so the total time is 8 hours, the standard American work day (although many people work longer than that). It also includes a 7″x10″ 12-page booklet with images, credits, and an essay I wrote about the prevalent relationship of people to work these days. Putting it in a tool box just made the most sense to me, as though someone woNWPboxuld carry it to work with them and listen to it all day. Though this was my concept I have to give serious props and thanks to all the artists, who did some of their best work.

What is the most difficult part of running your own imprint and also what is the most rewarding? Also please discuss any upcoming releases you have for both the label, and Compactor.

The most difficult part is dealing with money. While I can save money doing pretty much everything myself, as soon as you start adding in the kind of crazy ideas I have, the cost goes right back up again. Not to mention the time and labor. I’m cheating myself in some ways, but I guess I’d rather do that than cheat an artist. Then again, probably a lot of labels at this level operate this way, which is sad. We’ve become so used to busting our asses incredibly hard just to get anything done and not lose our shirts.

On the positive side, it’s so rewarding to hear from other artists that they’re happy with how a release came out. These are people whose work I respect a lot, and we are friends and peers, so that’s the most important thing. Though we’re also happy to sell out of things too!

Just released is a compilation called Prematurely Purgatoried, which is a benefit for fellow musician Casey Grabowski (Nearest, Obligate Surrogate, Secret Societies) who has cancer. In the works is a release from Seattle-based artist Morher, who was until recently known as OKA Amnesia. I’ve booked her a number of times, and she recorded several long pieces live to multitrack at my studio, with plans to do more and make it a full-length, which I’ll be mixing, as I did with STCLVR’s Predator. She’s also a visual artist and we hope to collaborate using her work to come up with some kind of special edition that suits her and this material, which is incredibly open and visceral. It’s gorgeous sung and spoken word live and looped vocals, with ethereal backing based on field recordings bleeding into harsh noise.

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By winter there will also be a special edition cassette by Mortuary Womb, a duo project between myself and the late John Binder of Exhuma and Arkanau. It’s full-on death industrial in the vein of early Cold Meat Industry and Slaughter Productions, recorded in Winter 2014. The limited edition will include a second cassette with the final recordings John did before he left us.

Compactor will have split releases with Vitriol Gauge and Ruiner. coming in Fall and Winter, respectively. There will also be tracks on compilations from Black Ring Rituals (for Fargo Noise Fest) and Spiricom Tapes, as well as a remix on the deluxe reissue of the Theologian/Lament Cityscape album. Beyond that, work has begun on a gabber album for Sonic Terror Recordings.

Chthonic Streams: www.chthonicstreams.com
Compactor: www.wastemgt.info

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DECAY CAST Interviews : STATIC AND SOUND; An Interview with DEREK PIOTR

Sound artist Derek Piotr is releasing a new  record coming out in late September on the DSPR imprint, titled “Grunt”, so we decided to have a short conversation about Piotr’s work as “Grunt”, specifically on their new record.

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“A grunt. That most primal and animalistic of utterances. The new project by Derek Piotr, his eighth solo record and a set of short-form brutalist shards of human-digital noise, is

named for this sound. Had Xenakis bought a laptop in 1999, he may have produced something comparable to Grunt and its post-human #voicenoise aesthetic. Yet this is a wholly unique piece of work. As with Xenakis, Piotr takes recognisably analogue sounds – particularly the voice, but also drawing on acoustic instrumentation and found-sounds from nature – and reconstructs them into 21 intricate ‘electroacoustic’ miniatures. Yet

Piotr is less interested in dissolving these boundaries between electric and acoustic than he is in hybridising the organic and the digital. Grunt is subversively queer in its post-human composition”

 

Dr. Decaycast:  “A grunt. That most primal and animalistic of utterances” would you say that this  quote sums up the Ethos of the Grunt project perfectly?

Derek Piotr: Grunt has a separate meaning in Polish which is “earth” or “ground”. In general this project is trying to remind people of awareness of the physical body and reconnecting with nature in a really direct, almost clumsy way. I feel society has totally gone ethereal with apps and phones and I wanted to hit listeners lightly over the head with this project.

DD:   Can you talk a little bit about the strategies of creating the sounds on this new record?

Piotr: Granular synthesis and heavy edits. In my earlier work i did a lot of very klobig cut and pastes, just lines and lines of small repeated glitches, then got further and further away from that idea as I moved on in my work. I wanted to return to some of the earliest ideas I had about sound, but in a way that is closer to my own vision than it was before…it always takes many tries circling around something before you reach the center.

DD: Would you consider yourself a concept based artist? If so, How does this record differ in concept from your previous seven full length albums, if at all?

Piotr: I think every record does fit into a concept. Drono was about drone music, Forest People Pop was of course more of a Pop record. I think I need a fence to work in or I would just be utterly lost. It would be interesting to me to create an album with no borders, every track a different flavour or feeling, but I feel ultimately that may result in a very uneven album. Something close to this happened with my fourth record Tempatempat. I tried many different sonic environments and, to me, that effort is my weakest. Consistency is important. I think grunt may be my most thematically consistent record. Most of the tracks are within the same parameters of length, and very similar processing is applied to the sounds across the entirety.

DD: Xenakis was mentioned in reference to this album. Can  you talk a little bit  about the impact his work has had on your  process and  aesthetics, if any?

Piotr: Xenakis is amazing, the press release was not written by me, but I definitely suggested that visual “if Xenakis had a laptop” to the PhD who wrote the liner notes. I think a lot of Xenakis’ work is very rough and direct in a way I tried to be on this album. I was not thinking of Xenakis when writing, more after I had the record done I tried to tie touchstones to it. Some of the work on this record sounds like Xenakis chamber music. Some of it sounds like Stockhausen. Some of it sounds like Pita. Some of it sounds like Kit Clayton. But I only drew those threads together after.

DD: The last track on this record is a reworking of a Kevin Drumm track. Can you talk a little bit about that collaboration and how that came about?

Piotr: I’ve known Kevin for years and we’ve emailed back and forth. We’re on the same label with some of our stuff. As I did with Drono (where I collaborated with Thomas Brinkmann for the last track), I invited Kevin to edit some of the material I was working on for this noise album. I sent him a bunch of demos and he chose Redirect to work with.

DD: Any collaborations planned for the  future?  Did you learn anything from that particular collaboration with Drumm?

Piotr: Didn’t really learn anything from Kevin, we work pretty similarly…that said I do have more collaborations coming in the next few months…

DD: What is some of the best new music (noise or other that you have heard)

Piotr: AGF – Dissidentova

Dirty Projectors – Lamp-Lit Prose

anything from Don’t DJ

but i am bad to talk about “new” music, I mostly lately listen to Jean Ritchie and old Thai music on youtube.

DD: Do you think queerness plays a  big enough role in noise?

Piotr: No. It’s very much a boys club still. I wanna wag my finger a bit: many successful noise artists feed into boys club energy; use guitar and have kind of a postrock shoegaze situation going on. I think it pulls in people and feels like stretched out major power chord business, just made slightly weirder or dilute. Then you have harsh noise which is almost mosh-state sometimes. Definitely macho-ness going on, at least with some of the noise scene figureheads. I wish for more alertness sonically, use of differing tonal systems, general freakiness, softness and sensuality.

DD: What are the next plans for your project?

Piotr: Tour and remixes and videos…

 

You can Pre order  Piotr’s new  album, Grunt, here:

 

DECAYCAST Reviews – Witches Of Malibu – “The Grand Crucifier” (Dead Media Recordings, 2018)

DECAYCAST Reviews – Witches Of Malibu – “The Grand Crucifier” (Dead Media Recordings, 2018)

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Witches of Malibu is the project of underground  industrial / harsh noise / psychedelic master Skott Rusch also of Hunting Lodge fame.  For this  release Skott’s playing under the WOM moniker and this one is released by  Dead Media Recordings, out of Ontario, CA. “The Grand  Crucifier” opens up  with a distant noisy, slow,  industrial rhythmic thudding which slowly grows with frequency, intensity and  terror.  A violent, shuddering call and response pacing develops between cold, clanging metal blasts of  metal and high pitched, unrelentingly harsh, static-filled, spikes of noise and chaos, however it never morphs into anything that could be construed as carelessly random. One thing that sticks out of these tracks is the the  tension, intention, and focus remain focused on their own bleak starkness which only serves to make the sounds that much darker and menacing. These cuts are super intentioned, and never fade into the realm often visited in harsh noise of unconnected,  random and selfish sounds, each  section possesses its own structure and harsh intentionality,  and with each sonic shriek, stab, or inverted  explosion comes a heightened peak of anxiety and uneasiness,  again and again until that is the listener is meant with deafening silence upon the tracks completion. Not to fear though, as dark soup will be served at the table all night, and the bleak, misty, cavernous  alienating sounds of WOM aren’t going anywhere, at least for the duration of this cassette.

The second track, Strike Strikes (04:11) is perhaps the  album’s most static offering in terms of movement, but  still provides a grating, hellish, scraping soundtrack to the days  activities of  gently knifing out your eyeballs and rolling them down the hill as they collect dirt and eradicate the last bits of light folded into your brain. The track builds with volume, form and intensity and by the end, a dark psychedelic confusion sets in and you can neither see nor hear nor feel where you have ended up, the pulsing has eclipsed all of your senses and the deafening shrieking has taken over. 

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The third and probably strongest and most dynamic track, “The Shine Cannon-Hectic Parasite”  starts with an almost inaudible hum for a  few seconds and then quickly turns into a buzz saw like cacophony of synth engine  destruction, slowly shifting and pulsing to bleed out the last bit of orientation one may have had at this point in the listening experience. The buzzing  goes from a constant square like jagged, aggressive, but relatively static,  sound to  morphed , twisted, swirling  sphere of sonic memory failure, blending into the next wave of  aural destruction. The cassette closes out with a slightly more minimalist, barren, percussion  forward track with some  subtly shifting whirling string like synths which sound more like a bowed saw than  synthesizer, blending perfectly with the choppy, blown out, mangled and twisted percussion. Rhythms pound and shake and eventually fade  away. The cochlear is now a dark, barren hole into the center of nothingness, and the  white noise blasts, high shrieking oscillators and garbled transmission ensure you won’t be making it back up the hill- you are forever  trapped in the  bottom of this pit and the sound  of  scraping, clawing, clamoring blasts of  sonic slag is the last sound that will  ever  pressurize your  ear  drum. Good bye. The end. Buy this TAPE HERE  or pretty much anything by this project.

 

– Michael Daddona

 

DECAYCAST Reviews: UNSUSTAINABLE SOCIAL CONDITION “Pleasure Seeking Pacifists” (Phage Tapes, 2018)

DECAYCAST Reviews: UNSUSTAINABLE SOCIAL CONDITION “Pleasure Seeking Pacifists” (Phage Tapes, 2018)

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Oxen label  head-honcho Matt Purse is back at it again with another no holds  barred  harsh noise ripper,  released by another veteran in the harsh/death/industrial hellscape,  MN based imprint Phage Tapes.  

“Pleasure Seeking Pacifists” comes right out of the gate with alienating brutality,  not even wasting a  second on some unnecessary intro and belts right out of the speakers with crunchy, ear splitting harsh noise with very little variation.  To the  casual or unsuspecting listener, sections of this cassette could potentially even fall under HNW category, though i think not to the discerning listener as their is some pretty interesting variations happening if  you can make them out once the  blood crusts over dried crispy inside the listeners ear and an entire dead sea of chaotic violent manipulations of the sounds become more articulated and present .

Thick scraping nails pull against a dead  chalk board which shimmers into the  listeners ear with a whistle meaning its time to eat the static and then death is the  logical next step. This cassette is unrelenting, it;s the style of undulating static, mid-high frequency  harsh noise that I would blast on the subway to alienate the morning commute into isolation, Did I say relentless yet? Because it is. Brutal, pummeling and alienating . This is top notch psychedelic noise. Purse holds nothing back with this sonic assault and with each release, further solidifying himself as one of the masters of new North American Harsh noise.  Short  review for a short but HIGHLY IMPACTFUL release. Highly recommended.

ORDER THE TAPE HERE ,

DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

 

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“People Meant To Die”  by underground stalwarts Cadaver In Drag is  nothing short of a classic  reissue from Josh Lay’s longstanding Lexington, KY based imprint, HUSK RECORDS. Underground legendary grind/noise outfit C I D belt through  viscous, heart stopping grind core songs  which often sound more like machines shutting down than actual music.  Menacing, pummeling riffs bleed top spastic,  pummeling drums  and thick layers of homemade synths  and electronics.  The  vocals oscillate between early Black metal and  growling slabs of  guttural noise; the perfect  glue to seal your  ride all the way to hell. Cadaver In Drag belt forth classically atonal offerings  of  bleeding esoteric heaviness which  cannot really be  categorized as “grind” , “metal” or even “noise”. It does  contain all of these elements however it is a sonic beast all on it’s own and angrily and aggressively defies classification. FAST, ANGRY, CHOPPED, BLEEDING, PULSING, CHURNING, BREAKING, DYING, ACCELERATING. All these things seem to be happening at the same time; this record is the  acceleration of anger, chaos, and  heaviness into the ear.

Originally recorded in 2003 by Trevor Tremaine of  Hair Police fame ,re-released in 2018 yet is seems just as  fresh and relevant as ever. Additional electronic  slabs of  chaotic, sputtering noise are  laid  down by local KY maniac, and  psychedelic visual artist Robert Beatty, also of Hair Police fame, add to the  general chaos and uneasiness that this recording is  known for. Endless layers of  quick moving, buzzing, breaking, battling homemade synths  clash with pummeling, arrhythmic  walls of lightning speed percussion and flying, buzzing,  choking guitars assault the  listener  with a seemingly endless barrage of  thick dark, esoteric slabs of  heavy  grind and noise. All of the instruments blur together in the most desired, intentional way possible to  create a truly menacing, abrasive  style of heavy music/noise all of their own, which is often replicated but rarely done with this amount of precision, intention, and menace..

Big sounds, violent  outburst after  violent  outburst of bleeding, confusing negative vibes in the best way  bring the listener further and  further into a pit of chaos- a  sonic stew of your last chosen meal. The world needs more bands like Cadaver In Drag, an this reissue is an absolute must own for  any and all fans of heavy music.  Totally unique and essential listen. HIGHLY  RECOMMENDED you go order it HERE.  Paypal/E-Mail = huskrecords@yahoo.com.

DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

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Choisir Le Pire is a newer project out of Metz, France  focusing on  harsh noise / harsh noise wall and this  new  cassette release is no  exception. Released on the newly formed LE TOMBEAU DES MUSES imprint also out of France. “-” as it’s  titled wastes no  time slicing the listener with  sharp, grating, alienating plumes of  static  filled gut  wrenching harsh noise with some  HNW and  even Power  Electronics sections to boot.

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The strongest track on this release, “De Charybde en Scylla.“, which is also the  opening track on the  A side offers  the most interesting and  dynamic work on the album,  featuring an ominous sludgy, fuzzed out  thick  droning intro  which is  quickly and  swiftly encapsulated by violent throbbing stabs of  sonic mayhem; grating, dark, and  uncertain. This tape is the  perfect soundtrack to a nauseating feeling that comes  moments before  leaping off  a  cliff into the  black abyss. The closing track, Ce qu’il en rester. is another favorite with it’s  blistering  shuttering fast paced dynamic  stabs and wells, peaks and  troughs of a  chaotic land, Choisir Le Pire wastes no  time and no sound, it’s all said and nothing is said  except for the  blood running slowly down the  side of the  listeners neck out of their ear. Focused, sharp and  agitated harsh noise release with  beautiful design and packaging to boot. Check out more from the  label and  artist via the links  above.

– malo

 

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

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PBK & John Wiggins take a  far  out ride to the  depths of  sound  design collaboration. “Where  Pathways Meet” on newly formed San Francisco label Acousmatique Recordings,  is two top notch sound artists/designers smashing into  one and other basement studio style for a warm, complex journey through a myriad of minimalist, orchestral, and cinematic takes on experimental music.

DONE #2 (4-01) is blends lush strings, new age droned chirping caked with gently fluttering synthesizers, ringing shimmers of decaying sine ways, and subtle string groans into a soothing, pulsing ambient/drone work. Other tracks such as UNTITLED #1 (9-98) are much more diverse in their approach and sonic characters. This longform collage blends crunchy digital noise sources, churning, bubbling square wave synth grumblings atop psychedelic swashes of lo fi static for a disorienting, dense, and compelling ride through the designers mind. Bubbling distortions of  memory fizzle, pop, decay and a new sound is born. Uniquely indescribable sounds, a chattering humming bell, a sqwaking, choking robotic bird belches out a sonic buzz of disorientation ringing in the inner ear. Field recordings cough ancient  stories of a forgotten room where an ancient sonic experiment has died.  

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The John Wiggins track JW BED #7 (2-98) creates a highly tense situation with it’s long-form, nearly silent, digital  waves decaying upon a shore which is  sure to slice and dice the  throat of  any and all in the  wake of the crescendo, early sun distortions bleed the ear  until the  quietest big becomes amplified into a cacophony of  uncertainty and virus, while the  PBK solo track PBK UNTITLED SOURCE (10-98)  closing out the download leaves us  with a stringed morose background for a nightmare of loss and a question never to be asked, cause the  ear and brain has  faded away with the very last note.

from the  artists…

“John Wiggins is best known as an Emmy winning film and television sound designer, working for HBO and his own production company, Wonderland Sound. Wiggins is a master of the techniques of musique concrete, his experimental work often consists of painstakingly arranged synthetic and natural sounds that create extraordinary “living” audio environments. In 2017 Wiggins was one of the distinguished winners of “PRESQUE RIEN” Luc Ferrari Prize.

Phillip B. Klingler is considered a pioneer of noise in the U.S., but has also been recognized for his work in the areas of ambient, drone and glitch music. He uses samples, turntable, analog and digital synthesizers to create dense structures of bizarre sonic origin. He has had numerous albums released and collaborated with the likes of Jim O’Rourke, Wolf Eyes, Dirk Serries, etc.

Acousmatique is a record label from San Francisco, California that is focused on publishing and promoting the best contemporary music by artists from around the world. Follow the label for new publications in the Acousmatic, Electroacoustic, Immersive Audio, Musique Concrete, and West Coast music genres. Check out the full catalog at
acousmatique.bandcamp.com