Jagged bursts of strobe lights. Cackling radio signals bristling with interference. Sawtooth patterns of tactile noise. Torn flesh. Scabbed wounds. These are some of the building blocks to Jim Haynes’ Scarlet. This crucible of unkempt rhythm and noise-pulse turbulence was decomposed and sutured together from the various sources of electromagnetic and psychic detritus into an unstable mutation of sequential error. The eight tracks of Scarlet stand as vastly radical and obsessive variations on the theme of repetition through trauma. Each of the tracks may have begun with the same system of building blocks, but quickly spiral into disparate orbits, time-lag accumulation, tunnel-vision mania, schizoid detours, amplified seances, and teleological endgames. This strategy of rupture and release was first noted on Haynes’ 2012 album The Wires Cracked, but has become all the more unhinged here on Scarlet. The analog tone generation and shambolic futurism harken to an earlier era of industrial immolation, with Haynes’ echolalia of Le Syndicat, Mika Vainio, and Martin Rev stridently tracing and electrically bleaching the forms of those antecedents without the benefit of drum machine, sequencer, and whatnot. Bruitisme, indeed.
Pro-duplication and imprinting with full color double sided j-cards. Limited edition of 100 on chrome tape…Prune by Coppice is a 30-minute composition for tape studying foundation reduction, threshold permutation, mercurial residue, and compression techniques. Recorded in Chicago in late 2010 using pump organ, fire bellows, push-pump organ, samples, and electronic processing.
Side B includes two new works from N.N.N. Cook. Wu Wei I: Repose features the texture of select materials arranged in order to accentuate the color of each while inducing horizontal and vertical spatial movement. Material (and non-material) sources include: baoding balls, brass censer, feedback, porcelain vase, tape, voice, wine glass, and wooden flute. Wu Wei II: Impulse is the first 18 minutes excerpted from a 40-minute improvisation on electric organ. The meditative state involved in the creation/listening process and the immersive quality of engaging in the perception of the beats, overtones, and shading are its focus.
Bloodred c60 + c40 tapes, handstamped / inked in blackHandcut, dyed + scored custom chipboard O-cards / insertHandstamped red 8.5″ by 8.5″ insert with black letteringHandnumbered & stamped in roman numeralsScreenprinted artwork by D.S. Ciarán
There is a stench here so old that it rids the body of any uncertainty. It is a comfortable rapture. The stench comes not from distant swamps, putrescent and green in their small wakes, or the mounds of bone matter and meat made dust underfoot. This waft of hidden and yet all-too demanding treasures lifts itself steadily from the bated, beating wings of the Bird, on its eternal voyage somewhere far past home.
Super Limited edition of 50 cassettes with accompanying hyperactive/disorientating essay (screen-printed). All assembled by hand.
C90 cassette with bonus Side B: minimal Background sounds and unassuming drones.
Darren Ho’s latest trip down the rabbit hole is a baroque maze lit with neon lights. Machine music for The Blue Danube. Piano, harpsichord and synthesis all set adrift, levitating into minimal jewels of sound.