Announcement regarding review submissions

After 7 years out east, Animal Psi is returning to California.

I am currently dealing with the backlog of submissions; please refrain from sending anything new in the meantime.

For those interested in reviews, be in touch after October 1st for the new submissions address.

Thanks for reading!

Joseph/AP

GODrecs

GARETH DAVIS & MACHINEFABRIEK – ‘ALVIN LUCIER: MEMORY SPACE’
god24Go to outside environments (urban, rural, hostilc, bcnign) and record by any means (memory, written notations, tape recordings) the sound situations of those environments. Returning to an inside performance space at any later time, re-create, solely bv means of your voices and instruments and with the aid of your memory devices (without additions, deletions, improvisation, interpretation) those outside sound situations. – Alvin Lucier 

Aubjects

NOOSPHERTILIZER 4-way split 2xC60 
HQ home printed & assembled artwork in side-by-side norelco case. Home dubbed in real time. The Big Drum In The Sky Religion, Gods of the Dead (Geoffrey Sexton & Frank Baugh), Tired Light, and Dmitri Zherbin. A small variety of analogous abstract and challenging 30 minute deposits. Some scorching, some deep digging, some nostalgic dreaming. Tired Light (US) provides a number of guitar based pieces, ambient & thoughtful. Intimate, rural, moving guitar-to-tape sculptures with occasional touches of field recording & alternate texture. Bowing techniques with reverbs and carefully dialed in effects bring about introspective moods pleasing to be lost in. BDSR (Virginia, US) does most of the scorching, with free form guitar noise and chaotic drums rooting into and separating portions of brain. Notions of ancient cultures, metaphysics, and self-awareness initiatives are juxtaposed with the now of electricity-propelled high volume sounds of abused stringed instrument funneled through microphones into storage media. Dmitri Zherbin (Helsinki, Finland) uses a distinctive technique of collage with (what is likely) a primitive cassette recorder, producing a warm varyingly-overdriven audio patina.  Through this veil is heard clustering tones from often indecipherable instruments and soundmakers. The feeling of the product is personal, nostalgic, hypnogogic. Beautiful strangeness evoking obscured meaningful formative memories, among other obscurities of life. Gods of the Dead (Los Angeles/Tennessee, US) drone toward visions of dystopian ruin and organic degradation, more similar to Geoffrey Sexton’s solo releases than those of Sparkling Wide Pressure. This is their first release together under this name. A variety of strange soundmakers and manipulations are utilized for a 30 minute shifting texture bog of eerie darkness.

NOOSPHERTILIZER – ‘II’ 4-way split 2xC60
HQ home printed & assembled artwork in side-by-side norelco case. Home dubbed in real time. Homogenized Terrestrials, Nigel Samways, Arma & Refusenik, and Gushing Cloud. Homogenized Terrestrials’ contribution is a dark exploration of a long deserted virtual reality, glitching and threatening to either explode itself into something overwhelmingly different or to drop out of existence entirely. Thoroughly alien feelings articulated by softwares and hardwares of the future we are living in. Nigel Samways’ 30 minutes takes the listener to cinematically sculpted emotional areas, and brings imagined spaces and times to life. Remarkable manipulations of various sounds. Wise usage of synthesizers. Perfectly chosen combinations of texture. High caliber science fiction ambient music; beautiful, strange, transporting. Arma & Refusenik deeply explore synth sound palettes, offering bizarre feelings and tone layerings. Some playing, some meditating, some frights, some anthill chaos of colliding frequencies. Bemused explorations of synthesizer sound banks and possibilities of spontaneous composition. The two are seeking the weirdest fruits from the synths in the largest quantity possible, and they’ve provided a prodigious basketful of fortuitous electric intersections. Gushing Cloud ruminates on moody beats, shattering and super-gluing them with dada-formed laptop computer technologies made in the 1960s and buried under a pile of moldy vinyl in the crawlspace of a house in rural Illinois. Mid-tempo head-nodding rhythms erupt and flicker among a din of skittering psychiatric research sound-play.

WEBSITE

Yerevan Tapes

PSALM’N’LOCKER – ‘Op. 01 Music For Dreamachine’ C62
Drone solo projekt by Luca Garino, already vocalist in Turin-based drone-folk trio How Much Wood Would A Woodchuck Chuck If A Woodchuck Could Chuck Wood? 
Op. 01 Music For Dreamachine, his very first release, is one 28-minute piece entirely built upon beats, also know as interferences between two sounds of slightly different frequencies. This composition, inspired by the Brion Gysin’s Dreamachine, revolves around the stroboscopic 60Hz frequency  and his sinusoidal sounds – both digital and analogic – fluctuate around that frequency. The sound undergoes reinforcements and weakenings according as the waves are dissonant or concordant. The phenomenon has been electroacoustically recreated with two not perfectly tuned air organs that could alter the very same notes. Comes on trasparent one-sided tape cassette with artwork by Luca Garino himself. Limited edition of 54.

WEBSITE

Goaty Tapes

Casual Junk zine
6fc0764a-ea4f-4e69-a6a1-aa28737c1d43Casual Junk is a fanzine/publication written by me, Zully Adler, with contributions from: Breakdance the Dawn, Mad Nanna, Tracey Trance, Son of Salami, Russian Tsarlag, Orphan Fairytale, and Sea Urchin. The book is separated into chapters for each band, which combine interviews, observation, images, theories and commentary. Each chapter pivots around a theme, but also dwells on funny stories and strange possessions, pulling peripheral junk out of the bands’ personal lives and probing them for particularity. I make a loose argument for how the atmospheric details of amateur recording give this music a peculiar intimacy, transforming how I listen into an inquisitive and relational activity. Topics include Dodgers baseball, dead suburbs, hama beads, garbage and the intoxication of daily life. Each copy comes with a c90 cassette compilation and a keychain made out of garbage. Stencil-printed on sugar paper and perfect-bound. 84 pages (14 color).

Banana Head – ‘Phones the Public’ C46
ebaeef60-7f15-4ec4-a399-0e1b54388b7f“Phones the Public” holds pop music between two pairs of fingers and twists it. I try to mingle my favorite Crooner themes: melancholy, arrogance, eroticism, aggression and all the other ambivalent zones of young manhood. Vocals move between dejected baritones and naughty whispers; guitar laments transition into gushy electro r&b. Doleful refrains and low-end repetition dipped in the nimbus of my shitty digital interface.

WEBSITE

Lighten Up Sounds

JASON MILLARD – ‘Second Based’ c32
JdogpicWow, such a warped and ripping solo debut from Jason Millard of Minneapolis. In case you have not been paying any attention at all; J. was the guitar man in the psych-pound group LIGHTED. Currently playing lap steel in experimental doom-rock trio MYRRH, as well being bass slinger in minimal Kyuss-jazz unit LAND. But this… this is something else entirely. We are blissed to deliver these fresh recordings to the people, providing only the most uncompromising sounds for our dedicated (glutton for punishment) listeners. An actual album of songs, all written at the time of recording, mostly 1st take. No long form improv noodle here, rather a series of concise sonic statements, mashing to congeal into thick paste for ideal forehead smear. These recordings are RAW, using the simple means of basically only voice, acoustic guitar, and tape machines. No looping pedals or fuzz distortion pedals were used in the making of this album. The results are staggering; crude glimpses of brilliance through the murk. Like ZZ Top trying to play “Meet The Residents”? Bizarre but catchy, almost tangible but severely mangled. Outsider song-smithery that puts to shame the throngs of hippy dippy “psychedelic” singer-songwriters that people seem to drool over. This sounds less like watching grass grow and more like peeling paint with gasoline. Heavy solvent fume, grotesque production values, so fucked. Difficult to accurately describe but completely unforgettable, coming to you with our highest possible recommendation. Professionally duplicated to Type II Chrome, imprinted bright orange shell cassette comes classically packaged with full color baseball card artwork in black/clear Norelco case. Includes large double sided fold-out 4” x 17” xeroxed lyric sheet, edition of 100. Prepare for vapor lock.

WEBSITE

Outer Realms

Simon Magus – ‘I Traded Virginity for Vice’ C32 $5
virginity for vice resizeNewest release from Simon Magus.  Dense waves of distortion drenched feedback, pulsating synths, and chattering buzzing textural electronics fill the tape.  These two recordings were performed live in Lansing, Michigan.  The sounds swirl and buzz in crescendos always on the edge of control with the constant threat of spilling over. OR002 Edition of 12 + download

Poppenheimer – ‘Karmageddon’ C32 $5
karmageddon resizeFresh sounds from Poppenheimer.  Improvised, down tempo, solo guitar and analog synth rhythmic explorations that drift between empty minimalism and heavy walls of sound.  The two tracks were improvised live in Lansing, Michigan.  This tape is more tonal than most “noise music”, but still firmly in the world of freely improvised out-there compositions. OR003 Edition of 12 + download.

WEBSITE

Holodeck

Sungod – ‘Sungod’ LP/CS
HOLODECK is proud to announce our final release for 2014 and the last of our Fall line-up: enter Sungod’s Sungod (HD027), the band’s first full-length LP for HOLODECK and first release for the label since their blazing cassette Contackt (HD011). Sungod approach their work with a purposeful disregard for chronological and geographic borders alike, devoid of any fixed time or point of origin. Touching on the modern and the classic, Sungod‘s five expansive tracks offer a series of portals into the past while maintaining a contemporary progressive sound. With a new line-up of auxiliary musicians contributing to the exploration of a full-spectrum of sonic planes, Sungod covers enough ground to hold a mirror up to infinity and find the inner frontiers of the self in its reflection. The Austin duo’s eponymous LP perpetuates the timeless elements of many experimental musics while further refining a craft that is wholly their own. The core of Sungod is made up of Michael Sharp and Braden Balentine, who record out of their shared home studio with a rotating cast of like minded musicians from Austin’s fertile underground music scene. While incorporating an ever-broadening inventory of influences, the band’s methodical arrangements and layers of meditative repetition hearken back to 70’s Krautrock, which serves as a solid foundation for further ventures into both burgeoning and antiquated realms. Polyrhythmic drums and arpeggiated synthesizers propel much of Sungod‘s procession forward, sitting in total harmony with acoustically-oriented pieces that concisely imbue a compensatory calm to the album’s potent, high velocity moments. Initially composed around an awe-inspiring single-take drum performance by Michael Sharp, Shiftless in Nkawkaw is supported with additional vocals by a pair of Sharp’s coworkers who jumped onto an impromptu recording session after a shift together, chorusing between psychoactivated guitar solos and fully engrossing flute melodies. Ample contributions from flutist Kristine Reaume as well as bassist Alex Hughes help to make Sungod’s latest LP an exponent in this era of the band’s cosmology. However, the epic closing track L’âme de toute étoile strips back down to Sharp and Balentine, proficiently exhibiting their command of drums, guitar, and synth in one of their most elemental works to date. With the vast scope of outsider-art that has been absorbed and reinterpreted in becoming Sungod, a casual listener may have difficulty placing what country or decade spawned these cerebral pieces; in this way, Sungod exists well outside the normal timeline of recorded music. Building off of their primal tape Contackt, Sungod resurfaces with a new and fully realized LP, an ongoing evolution that has now become sentient. Sungod strives to reveal the universal constants in music, the Platonic solids of rhythm and melody that are as unchanging as natural laws. Additional vocals on track 4 by Gerilyn Hayes & Steve Sellers. All songs produced and mixed by Sungod. Recorded 2010 to 2012. Engineered by Braden Balentine. Mastered by Harris Newman at Grey Market Mastering.

WEBSITE

Scissor Tail Editions

Nicked Drake (by Gareth Dickson) – ‘Wraiths’ CD $9
Cover (VERY SMALL)Cover (VERY SMALL)2Ltd. Edition of 200. Quite possibly the closest study of Nick Drake and most reverent covers that have or will ever exist. 

Nick Storring – ‘Gardens’ CD $9
Ltd. Edition of 200. Toronto based composer, experimental solo orchestra, 60+ instruments / 5 songs / Winner of numerous composition awards, artwork by Louis Reith. 

WEBSITE

Pawlacz Perski

[ppt28] Promieniowanie – ‘Luty’
ppt28_700x700Luty (EN: February) are two twenty-minute improvisation pieces based on modular synthesizer and sounds of guitar, percussion instruments & objects. Bartek Kalinka and Wojciech Kwapisiński offer us music full of subtle detuning and ephemeral auditory events, oscillating slowly between fading away and exertion. Album is available in digital files for free download and in a limited edition of 40 cassettes.

Obsolete Units

Derek Rogers/Sindre Bjerga split
dereksidrenewDerek Rogers and Sindre Bjerga are two of the more ubiquitous and exceptional presences in the realm of modern drone composition, with both forging their own prolifically distinctive identifies among the dignitaries of the experimental underground. This split release finds both musicians operating at their strongest, with each crafting their own long-form statement that aptly provides perhaps a definitive entry-point for those who’ve yet to delve into both Rogers’ and Bjerga’s dense and diverse catalogs. Rogers’ side welds his gorgeous and hypnotic guitar work over a platform of excitingly unwieldy digital glitches, resulting in a distinctly gorgeous composition that recalls Christian Fennesz at his most contemplative. Bjerga’s piece documents a live performance from a few years ago in the Ukraine, with dynamic and pulsating electronic drones working a concurrent mood of serenity while also exploring a more abstract intensity that builds throughout underneath. A crucial testimony from this pair of absorbing performers. Edition of 100.

AG Davis – ‘Audio Works’
agdavisAG Davis has been pursuing his own distinctive and powerfully unpredictable patchwork of avant-garde madness throughout the past decade, from the epileptic grind edits of Boy + Girl through the plunderphonic-punk pastiche of Extra Sexes, and perhaps most infamously the vocal-chord exorcisms he unleashed alongside saxophonist Jamison Williams for a pair of singles. Audio Works devotes focus to yet another set of Davis’ impulsive methods, this time compiling two works released in incredibly limited editions via neo-Dada genius Kommissar Hjuler’s Der Schöne-Hjuler-Memorial-Fund imprint. Hjuler and partner Mama Baer provide source material for the first side, with Davis reigning in their ambiguous declarations with rapid edits and a plethora of cryptic sonics. The flip finds Davis continuing this confrontational force of perverse musique concrete, thus aptly book-ending this confident declaration that calls to mind the pioneering abstractions of pioneers like Pierre Henry as much as it does the absurdist nihilism of Schimpfluch-Gruppe. Davis has declared this to be possibly his final recorded work; for sure, it is one of his very best. Edition of 100.

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