Trap Door & Dreams
“Gravity Break” [Dreams Remix]
Fittingly for his name, Dreams turns Trap Door’s “Gravity Break” into a dreamscape. Combining tangible short sounds with longer, meditative ones creates the feeling of an actual dream, one where tangible elements from your life combine with ones that can’t even fit into your perceived reality. Trap Door, of the London based Gang Fatale collective, makes music that is fitting for both the club or for the bedroom after, and it’s hopeful to see a remix that pulls it more to the bedroom rather than more to the club. Largely this is because of the elimination of the main vocal sample “let’s all break it down” in the original, and the addition of a vocal that’s much more esoteric. And doesn’t this remind you perfectly of Macalania Woods from Final Fantasy X?
Trap Door’s Emerald Dove EP is forthcoming via the French based B.YRSLF Division
Beauty Bath [Side A]
Slip out of those overalls, secure the instant depuffing eye mask, and slide straight into the spa waters. Aaron Dilloway is reissuing his full-length album Beauty Bath, previously available as a short-run international LP, in a fresh edition of 500 picture discs via his own Hanson Records. As the bubbles eddy around your aching limbs, lean back and prepare to beam one whole side of the wax straight into your dome. In the right mindset, the alien is familiar. In the right location, noise is comfort.
As ever, Dilloway sets up shop and doles out platters of abstraction and hallucinatory audio recontextualization. Filtering his deep-cut curatorial sensibilities as a tape collagist through a disfiguring battery of effects and loop-based processes, whatever sounds he pre-records or whatever pre-existing media he samples or whatever the hell any of this once was emerges from the boards as a layered session of white noise, industrial clamoring, and slo-mo drone. The A-side of Beauty Bath bends and writhes as a suite of juxtaposed textures all over the [Harsh] -> <- [Placid] spectrum, giving each segment of disembodied terror its own few minutes in the spotlight before jettisoning the loops for another round. Though every tone he presents would register as “hellish noise” with the norm-core contingent, Dilloway excels at weaving sounds with radically different grains and degrees of legibility into fractured narrative journeys. He offers bite-sized servings of discernible synth-like moans and the occasional clearly sampled instrument before pulling the rug out via expanses of hissing pointillist static.
Around the 18-minute mark of the A-side, Dilloway begins a passage of loping tape squelches dusted with suspended synth tones and haunted whistling — giving us an idea of how Ennio Morricone would sound 800% percent slower and mangled into near nothingness. When the whistles end and the loops grind to a halt, feel free to take off the eye mask and re-enter society. When your hands dry, grip Beauty Bath from Hanson Records — or spring for the LP bundle pack with Adrian Rew’s sublime Slot Machine Music. Both ship in early September.
• Aaron Dilloway/Hanson Records: http://hansonrecords.bigcartel.com
Hey Mother Death
What does your old house look like through a retrograde lens as you stand in it today – empty – years later? Nottttttttttttttttt a problem. Hey Mother Death went and creeped their own and made a video of it for their new single “The Hills.” I mean, maybe, right?
Actually, Hey Mother Death goes deep on this idea of film making here, and in such a simple-yet-heavy manner, which complements their music almost too well, no? As most of the video shows, “The Hills” as a song traverses levels of deterioration, minimal despair, sirening, and lingering within a questionably cleansed and fluttering environment. And as a follow up to their incredible Self Titled self-released cassette from two years ago, the Nova Scotian duo (Denma Peisinger (boy) and Laurence Strelka (gurl); ^_^) are releasing their first album Highway (pre-order) on Snake Power Records (their label; SPR001) this September 2.
Earlier I heard the entirety of Hey Mother Death’s Highway, and it’s exactly how I expected them to step up their game into longer lengths. Shit will get fucking serious come late summer between the swags of Hey Mother Death and new FKA twigs. Also caught our new TMT reviewer Adam Devlin listening it in our music database, and this is what he said to me about it: “I’m really into it so far, actually. It’s making my last few hours of work oddly sensual.” LOVE IT!! HAHAHA
• Hey Mother Death: http://heymotherdeath.com
The last we heard from Norm Chambers (a.k.a. Panabrite), he’d taken part in the sprawling, ambitious Dynasty At Ghost Town tape collection. His contribution, Tracer, was a succinct summation of his musical career to date: lush analogue synth work that was equal parts “library music,” trippy kosmische excursions, and mellow ambient bliss. Remaining true to his prolific manner, Chambers follows up that tape with yet another, this time on the esteemed VCO Recordings imprint. Sensory Margin (released under his own name) is described as “a concise collection of similarly-minded themes and moods for non-existent films,” and that descriptor is especially apt on “Luminous Technology.” The inclusion of a crisp beat on top of the heady synth work is a nice touch, as it lends the tune a propulsive drive. Stream below, and be sure to check out the Bandcamp pages of both Panabrite and VCO Recordings, whose respective discographies are very much worth digging into.
dusk // dawn
File Spacedtime’s entire catalog under ‘O’ for “Obscures the difference between beat tapes and albums,” but then clasp your keister because this here premiere for his latest release, dusk // dawn, is about to warp more than format distinction, and by that I mean it’s getting extratemporal out there. Portals warble fractal crackles. Fractured, forgotten ensembles bemoan their individual and collective displacement. Hoarse horns, cranky keys, all that good good.
This is Spacedtime’s sixth interstellar dispatch of 2014, following COSMOS, SOLAR, wandering planet, Manifest EP and VOYAGE, so the 22-year-old UK producer could conceivably be working his beat(s) all night … you know … dusk // dawn. End transmission. Begin playback.
• Spacedtime: http://www.spacedtimebeats.com