Download the entire Rhizome EP for free over at the Crash Symbols bandcamp. Jheri’s also making a limited number of hand dubbed copies (only 20) which, knowing him, will surely be gorgeous. Also, here’s some fun bedtime reading; “Basidiomycota”.
Tape Trade #2: Full of Nothing
As far as we’re concerned, everyone should have a pen pal in the Republic of Karelia - bedroom tape label Full of Nothing is ours. Last month, we passed on some of our wares in exchange for theirs, and these are what we ended up with at the end, each one exemplifying the vein of “contemporary psychedelic underground, adventurous drone and warm experimental music” that the label has made its purview.
1. Polypus Acephalous - The Outcast Tribes, I actually reviewed this one a couple of months ago for Get Off the Coast: “evokes the ghost of Rimsky-Korsakov, one Russia’s master orchestral composers and a prime resuscitator of its native folklore, united in the 21st-century to conjure up the uniquely weird players that populate the former’s latest album, The Outcast Tribes. They shamble in a slow rise, spontaneously creating some perverse funeral march, each voice possessed by what the band’s label calls a sort of ‘eskimo disco’.” (Original Post)
2. Suburban Howl - Lady Hate, only one of the latest additions to the Italian psych collective’s growing back catalog on a laundry list of great international tape imprints. As Full of Nothing observes, “the listener will find the Italian collective in an unusual shape. Somehow, the industrial noise walls have disappeared; there are more acoustic instruments. Crooked improv. Thick, raw and damaged free folk. Out for blood.”
3. Preslav Literary School - La Réflexion Du Tir, “Preslav Literary School’s music is a bit like exploring the space right under the roof of an old cathedral…” (Source: Weed Temple) Although this description was partly written with the tape’s artwork (which sports a cathedral) in mind, it still resonates with me as a description of the music, which amounts to lengthy, droning treatments of found sounds and warped loops.
All of these releases and (oh goodness) more, can be gotten here. The fourth tape in the pic has since sold out, so we won’t tempt you more by describing it at length.
In case you hadn’t heard, yesterday we murdered Get Off The Coast in cold blood and pulled from it’s seeping wound the first inklings of Decoder, and today we bring you the magazine version. Like so many of our friends and peers, we’ve decided to use Kickstarter to initially fund the project. Decoder will begin as a semi-annual publication, with a new issue coming every 6 months. We aim to be more than just a source of music; featuring tons of artwork, culture pieces, and even a few short stories. We’ve lined up contributions from Henning Lahmann (NFOP), Michael McGregor (The Report), Claire Pestaille, Malachi Ward, an interview with DJ Quikfrom Peter Marrack and so much more. Dwight, Liz and I have worked for the better part of 2011 on this project, making it very much a labor of love. We’ve had contributors drop in and out (and we anticipate that may continue to happen), but we’re wickedly proud of where we’ve gotten, and now we just need your help to really make this thing happen. So go ahead and pop on over to the Kickstarter page, mosey around, check out the contributors, and if you feel so inclined throw us a donation for whatever you feel comfortable with. We’ve got a few incentives up now and will be adding more in the coming weeks. While you’re browsing give a listen to the first Decoder mixtape, twenty tracks that can downloaded with just a $1 donation.
About a year-and-a-half ago I first met Dwight and his then girlfriend Liz while touring with Born Gold (then Gobble Gobble). It was obvious from the first handshake that I had just discovered two of my best friends in the most unlikely of places, West Virginia. It was upon this first meeting while smoking a bowl on the front porch that the idea of Crash Symbols was born. Fast forward to now; we’ve released around twenty tapes, our first vinyl release (both a 12” and a 7”), plus Dwight and Liz got married! The three of us couldn’t be happier with everything we’ve accomplished in so little time. To celebrate we bring to you today the second volume of our inaugural mixtape, Dope Mountain Fuck. With just as much energy and twice the confidence, DMFv2 is a symbol of achievement for us. It features new bangers from Main Attrakionz, Oxykitten, Ghibli, changemod, Gahza, Ricky Eat Acid & more; as well as remixes from Emily Reo & Ryan Hemsworth and a Deniro Farrar cut over a previously unreleased Clams Casino beat. This is potentially our most ambitious mixtape to date and we’re pretty damn proud of it. 2012 belongs to us and ours.
Head over to the Crash Symbols bandcamp to snag all twenty-five glorious tracks from Dope Mountain Fuck Vol. 2!
Thanks to Dan Casey, aka Yalls, my wife and I can breath safe at night. Thanks to him we’re still alive today, sucking down good Oakland air in the East Bay (more commonly the “Easy Bay” to those who call it home), while he might have just left us to die where our US Airways flight dropped us off in San Francisco, still fresh from West Virginia. So, it’s no exaggeration for me to say that thanks to Yalls, America will win the space race. As plans unfurl for a new Yalls-absence-suppressor in more solid form , Crash Symbols is proud to inaugurate its new series of lamentably fake 12”s with “Vapid Glitch Vow”. More than just an anagram of my name, it is uniquely Yalls; soul-funk poptronica driven by Casey’s incredible idiosyncratic beatwork, and lent further support by the inclusion of a totally indulgent ten minute extended mix that is absolutely necessary for fullest enjoyment. -Dwight
“Sponge is a collection of tracks I recorded during the winter of 2011 on my 4-track. It contains material from a limited 7” I did for Spanish label Ghost Highway Recordings, as well as some covers and demos. At first this album was going to be for my close friends only, but I liked the vibe of it so much I decided it should be shared more widely. It’s gritty and lo-fi, but also warm and poignant. Nothing too serious. Just a fun time.” -Shawn Foree