Rodman-Melchior Melchior-Rodman - S/T (FAB026)

lovely vibes from Fabrica Records. peace and love to my friends at Humboldt Relief :)

Letha Rodman-Melchior's side - A - encapsulates myriad elements. Diverse and covering a wide range of moods, disparate sound sources are interwoven vividly; ultimately creating songs that spring to life right before your ears. Side A features collages that are comprised of field recordings; films and songs playing in the distance; room ambience; and her instrumentation, which is employed to great effect. These soundscapes have been tended to meticulously; the visceral tension in some places is difficult to elucidate - one of the best facets of this side. Altogether, Letha Rodman-Melchior's side makes me return for more. A second is not spared, as hauntingly beautiful, even mournful, loops coalesce with icy piano notes, wah guitar and room ambience. "Marsh of Decay" is definitely one to remember. The use of field recordings at the end makes it even more evocative. Shortly, in "Cleomedes" wayward transmissions circulate, while a piano somewhere off in the distance sings affecting notes. Eventually, it moves proximate to release a tranquil melody. Following these two stellar tracks is "Messala" which makes one's heart race before a sonorous voice parts the clouds. Somewhere in the distance, dusty strings play a slow song. "Patavius" is another standout track. A light and airy piano flutters effortlessly. Toward the end its character suddenly turns plaintive - quite lovely. Meanwhile Dan Melchior-Rodman's side is completely different. The flipside employs plentiful sources, loops and noise to create something that is constantly morphing.

This moving, sonically rich cassette from Fabrica is limited to 100 copies, from which the proceeds will be donated to the Letha Rodman-Melchior cancer fund. Anybody who is interested may purchase a copy directly from Fabrica Records.

peace and love, friends :)

Chapels - But I Was Never Much Good (House of Alchemy 072)

House of Alchemy tapes make Bubba's trichomes shimmer with excitement. peace and love to my friends at Humboldt Relief :)

One of my favorite things to do upon receiving a batch of House of Alchemy tapes is to go right for the gold - Chapels. Chapels is tantamount to a sweet trichome-covered nug in the bag that leaves a lovely fragrance wafting through the house. Throughout the duration of a recording, these tapes exhibit a propensity to envelop. Studying these sounds in the present moment is an enriching experience. In the realm of experimental tape labels, few compare to the venerable and prolific House of Alchemy. When I listen to Chapels, I often find myself thinking of another talented artist who permeates my head similarly, Josh Mason. That comparison may bewilder some.While their craft manifests differently, both are notable for providing a minimal and encompassing experience. Drilling down more deeply, it is about exploring sound, and sometimes its relationship with the environment. Chapels' discography explores myriad moods and vibrations, ranging from foreboding; ominous; dark; vibrant; voluminous; introspective; hopeful; austere - the human experience. Label proprietor, and Chapels main man, Adam Richards, utilizes a phalanx of instruments in his recordings, as well as on the latest release, But I was Never Much Good. Each side is comprised of obscured and hazy collages, which yield thick, sustained and opaque ambient vibrations.

Blotches of corroded keys surge and modulate. Loops hang tenuously on a blighted synapse - music for introspection. Shortly, abundant layers of modulating, hazy energy coalesce. Becoming more concentrated, the sound moves to the fore until the flickering energy is exhausted. Soon objects resonate, which culminates in a churning wall of noise. Side A ends with a poignant sample. As the flip gets going, scrambled field recordings and rolling minimal noise graduate into a stream of high pitched whirling noise. Swirling energetically in the silent night, blurred tangential signals float ominously through clouds. Ghastly utterances struggle to communicate in the murky hiss - lovely!

But I was Never Much Good may be purchased directly from House of Alchemy or through Tomentosa.

peace and love, friends :)

Gerda Taro - The First Hundred Years (NL001)

Gerda Taro's vibrations induce couch lock - top shelf vibes!!  peace and love to my friends at Humboldt Relief :)

The First Hundred Years assesses your pulse before catapulting one into a matrix where copious vibrations merge at the doorstep of a lustrous dance floor.   This tape of crystal-covered zoners can aptly be described, in its entirety, as 32 minutes of pure elation.  When you remove the cover to descend into the tape's inner workings, The First Hundred Years, on Noumenal Loom, reveals ornate collages that are full of moving parts and always becoming - jams that are stitched together by frayed threads of time.  Gerda Taro is the supreme guide for a journey steeped in dreamy vibrations and soul/funk dance floor ruminations.  The jams coalesce in the manner of Venn diagrams; arrangements form ephemerally, glowing for a brief time, before dissipating in a maelstrom of distortion produced by remnants from halcyon days.

  Beautiful music doesn't require tags or genres to make a case for its importance.  Back in 1970, Miles Davis played the Isle of Wight with his fusion band.  Upon opening the set, somebody inquired about the track title, to which Miles responded, "Call it anything".  He termed it such because those electric vibes knew no boundary.  And, that is the case with The First Hundred Years.  The beginning is mesmerizing; a hiss covered raga splits at the seams, releasing hazy anachronisms that appear to be stuck between dimensions.  From that point on, the cassette glistens like my favorite bud.  Gerda Taro touches on many types of music - funk, soul, jazz, hip hop, rock, dance, pop, ambient/drone.

When I'm listening to Gerda Taro, it rains trichomes for days - and that goes for the entire batch. Gerda Taro refers to a prominent female war photographer from the 1930's.  Just like the namesake's ability to tell a story through pictures, The First Hundred Years accomplishes something similar sonically.  Produced in a limited edition of 75 tapes, with artwork by Brenna Murphy, these tapes are smokin' hot!  The Digital Natives cassette is already sold out at the source.  Don't waver - purchase the Gerda Taro and Holly Waxwing tapes directly from Noumenal Loom.

peace and love, friends :)