|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ECLIP 058LP
|
"At last, a new LP from Chicago's spacepunk purveyors! Following '06s sprawling double concept LP, No Wonderland, this is perhaps their most consistent and paint-peeling statement yet. These tracks were captured with little studio trickery, in a live-type fashion, a set of bellowing free-fest scuzzrock, biker boogie, Kraut-style dirges, cosmic communal jams, and fist-pumping no-anthems. This is easily the most seriously rocking Plastic Crimewave Sound line-up yet, with hot new leads courtesy of Nick D'vyne, and the solid backbone of PCW (guitarscrawl, yelps) Mark Lux (bass rumblage, electronix) and Lawrence (Skog Device) Peters (drum). Folks have actually been clamoring for this line-up to lay it down to wax (especially the aforementioned anthemic cut 'Shockwave Rider') for some time, so get ready to explode into space. Limited edition one-time pressing."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ECLIP 049LP
|
"The A-side was recorded at the first No Fun Festival in March 2004 (Brooklyn) and features a little comedy to start with and then things get heavy... and the second side is the very first VG Kids/Wolf Den Ypsi Street Level throwdown... our set was live on a 6-color shirt screen press and Nate brought a fog machine that blasted out the room and into the parking lot night of the VG complex... near the end you can hear people chucklin' cause its absurd.. that night was also the first "official" Sick Llama, and MI debut of Failing Lights... great night.... DM had a weird 7 small speaker set up on the heads of the press and spun it slightly for that dead-universe dying electronic creeping blast sound. Printed covers with the back cover featuring a demented John Olson collage -- killer!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ECLIP 001CD
|
"When Ilya Monosov handed me the score which he wished me to realize, I was relieved that it revealed a complete absence of composerly attributes; it struck me as an honest, an entirely sincere parallel reconfiguring in pictorial, or spatial form, of the disposition of sounds and sound states, and the feelings that inhere in sounds... in response to the photographs and their airy, sky-directed orientation, I created a group of airy, diffuse, diaphanous, unfocused cello sounds, using the extended corpus of the cello as a unified vibrational field, and expressing the point at which cello sound production breaks up into unspecific matter, or diffuses, freeing itself of singular pitch or any other characteristics lending specificity... I organized these sound states into a continuum from extremely diffuse to not so diffuse, the least diffuse being a high artificial harmonic played sul ponticello (and this the only sound actually played conventionally on a string)... we agreed the most diffuse was to be silence... therefore, including silence, I had at my disposal an incremental set or pallette of eleven sound states... applied to the score, we agreed that, read from bottom to top, the most widely spaced sky-strips, as figuratively admitting the largest volume of air, be assigned the most diffuse sounds; and the narrowest the least diffuse... durations were determined by taking a visual average of the faintness of the two wires delineating a sky strip, with the most faintly delineated strips the longest durations, the most boldly the shortest... to this end Ilya Monosov provided a scale of five durations, in seconds 20, 30, 45, 80, 100... thus with five durations and eleven sound states I identified seventy-one separate events and played them accordingly..." --Charles Curtis. "All sound recorded live in one take with no multitracking or layering of any kind."
|