toddhanson1967
Trevor's comments reminds me of John Peel sharing Pink Floyd's description of One of These Days at the start of the 1971 BBC recording. Excellent release of this style of music. There are certain times when this is just what I need.
the city sapped all feeling and left us all to die your pretty face like magazine page blowin' tattered in the wind our will is tied to vast machines on our servitude they thrive
Performed, recorded, and mixed at home April 2005.
This album was originally released on CD-R by Atomic Mouse Recordings under the artist name "Histoire" and album title "The Future of White America." It was intended as a caustic critique of the parasitic, destructive nature of white American culture, but in the many years that have passed I've become uncomfortable with how easily the title might be misinterpreted. I've also come to think of the album's central thesis as somewhat misguided - I believed that the work was somehow able to stand separate from the culture it critiqued, when in fact it is a product and perpetuation of it. In this sense, I was lacking self-awareness, but the visceral contempt that fueled these sounds was real and abundant and begged exorcism.
At any rate, the album's lyrical themes - that "American exceptionalism" breeds a destructive apathy that empowers the wealthy elite, who utilize conspiracy narratives to distract attention from the virulent actions they commit out in the open under the pretense of free market capitalism - feel (depressingly) even more resonant and relevant now than when the album was made. I've long wanted to make this collection more widely available under a new title and the country's present circumstances would seem to suggest now is as an appropriate time as ever.
The music was all recorded and mixed at home in Edgewater, save for the field recording (made on a shitty laptop microphone at six corners in Wicker Park) that forms the basis of the second song, and the entirely of "Conspiracy Culture" which was recorded at a practice space in Humboldt Park.
credits
released August 5, 2020
"Domestic Decomposition" - harp, chord organ, blender, television
"Wicker Park (City Saps Feeling)" - field recording, violin, chord organ, mandolin, acoustic guitar, vocals
"Conspiracy Culture" - electric guitar, bass, drums, vocals
Floor-to-ceiling Boris ragers! It’s like they looked back on songs like Statement and Woman On the Screen and said “let’s do a whole album like that!” Most of these tracks don’t even pass 3 minutes! Zerkalo holds up the middle with some anguished doom.
In the end, *NO* is as strong and declarative as it’s title. Brian Parker
Canadian producer and multi-instrumentalist galvanizes bowed guitars, cellos, and synths into an off-kilter exploration of heat and desire. Bandcamp New & Notable Feb 25, 2024
Disappear into the shadowy dark ambient on the latest from Carlos Ferreira, each track texturally rich & absorbing. Bandcamp New & Notable Nov 11, 2023
Grid of Points is more brighter compared to its previous sister album Ruins, yet the album still feels very dark, possibly caused by Liz’s inhuman ability to make the calming sound disturbingly beautiful. Every moment on here, yes that’s including that ending to Breathing, makes me feel so emotional in different ways, but Driving specifically has such a punch to it like no other. alicedreadfuls