For those not so familiar with Wellington, Kansas sound mangler Zachary Lawrence and his musical outlet Endless Chasm here’s a brief catch up.
By now quite a well known face on the US underground Ambient / Drone / Noise / Experimental Electronic scene, it wasn’t until after a small collection of bandcamp singles that the ‘official’ debut Endless Chasm record exploded onto the scene in the form of a 2015 EP, an all out noise assault entitled ‘A Pedantic Critique of Modern Cultural Discourse’.
Keen not to kill any momentum, the following year saw plenty of activity from the project including two albums, ‘The Myth of Sisyphus' and ‘We Cannot Keep This A Secret Any Longer’ both released on Kansas label Big Pharma Records, run by fellow noise-heads RAGK and Contraktor.
Spreading across the states to various cult tape labels, New York's Endless Landscapes Of Decay put out a cassette titled ‘Sorcery is the Rich Man’s Curbstomping’ that was warmly received while the Chicago based Lurker Bias released ‘Harm Health' which sold out almost as quickly as the tapes could be dubbed! It presented a glowing if not slightly scatterbrained example of EC's progress and potential.
One of it’s most notable contents was the title track, which I stumbled across one day in the YouTube video linked below. Filmed in a decrepit Kansas tavern, Zach clad in smart shirt and trousers works away over his pedals, manipulating dials to twist the chilling words of American Psycho’s Patrick Bateman into a frenzy of cacophony.
Bringing us back to the present day, Endless Chasm returned to another Kansas based label, this time Wichita’s This Ain’t Heaven Recording Concern to release ‘Dweller On The Threshold’ making it’s arrival back in July 2017.
The physical release opts for a simple layout with a few token extras. After breaking the seal stretched across the cassette’s case, it’s front cover splashed with some delightfully entrancing glitch art, I spy tucked behind the colourful tape a translucent plastic card sporting the EC logo, as well as a free download code written upon a small strip of paper that I happily help myself to.
Looking at the tracklist, with titles named after locations in David Lynch’s Twin Peaks series you'd be right to expect an abstract audio experience as opposed to some easy listening.
-Although for those still yet to indulge in the addictive surrealist TV series, the ‘White Lodge’ is a place of purity and all things good while the ‘Black Lodge’ is a darker, more evil spot. (Which must certainly mean that we are due a ‘Red Room’ themed release sometime in the future).
Listen below:
SIDE A: White Lodge
With ethereal whooshes whose harshness could only be found in the coldest, deepest point of space, a descending two note intercom like mantra plus some sparkling audio residue that twinkle like distant stars, White lodge gets itself well underway.
To me, these sounds resemble life onboard a travelling hotel space ship, and it’s continual journey through the cosmos observed through a port side window.
For a brief moment everything cuts out, and we are left with nothing but the isolated whooshing and sparkling, illustrating the emptiness of the cold, dark spacial void. Just past the track’s mid point a soft synth passage glides into view, it seems to want to detune itself into oblivion but it keeps rolling on. In the meantime, the housekeeping impatiently fire up the hoover.
A haze of feedback makes itself known, causing the huge space cruiser to groan as if on it’s last legs while the hum of the vacuum cleaner seems to combine with the engine’s thrusters for maximum velocity and maximum cleanliness. An electronic bleeping quietly hints at some approaching sinister space beings but the primary synth part is reprised and calm is soon restored. The ship speeds on.
It is when beheld, a very well layered soundscape with various effects that could have been lifted from some long forgotten sci-fi motion picture soundtrack (think Dr Who meets Stanley Kubrick) now it’s over to Side B.
SIDE B: Black Lodge
This is where our imaginary traveller aboard the hotel space ship finally decides to get some rest, he lays down his head and begins to dream. Backwards loops lead the way along a path of toasty synths illuminated by the hypnotic echoing of soft cymbal hits.
As the track progresses deeper, it builds in thickness, as if closing in around the listener, like some kind of psychedelic beginning to take a firm grip of our protagonist, who is now unable to shake off the trip.
At one point, an icy layer of drone noise gains vast momentum, reaching a raucous level that borders on harsh, it sputters indignantly but doesn’t manage to break away. The shrieking fizz is eventually drowned in the tide of backwards sonics that lap over it like the waves of an uncaring ocean, crackling into nothingness as it expels it’s last.
While the track may dip it’s toe in the abyss, there is no wandering off into the darkness that the title would suggest, instead remaining as a trance induced, meditative slow burner that makes for an exquisitely beautiful listen. It’s pure abstract theatre for the musical mind.
Conclusion
Like many an Endless Chasm release, ’Dweller…’ brings together both the vintage and modern sonic worlds, brilliantly showcasing the duality and ever expanding consciousness of the Chasm. The project’s ability to transport the listener into far away musical dimensions is remarkable and undeniable as always.
Caving helmets on, it’s time to begin the descent into the Endless Chasm once again.
Special thanks to Zachary for sending me a physical copy of the album.
At 66 years of age, Australian Sound Artist Ian Rochford is undeterred from making a very listenable racket!
Inspired by the experimental, boundary breaking acts of the late 60’s and 70’s, these days Ian can be found utilising field recordings and found sound through basic music software to create classically infused drone and dark ambient soundscapes and has gathered a large number of followers on Soundcloud.
Latest Tuonela effort ‘A Rover’s Guide to Coastal Chambers’ is a dreamy sci-fi soundtrack but not without a few doses of nail biting tension, and might just be Ian's most progressive release so far. The sounds made by Ian are proof thatyou don’t need top of the range gear or to speak fluent theory to produce great music, all you need is a good imagination…
Listen below:
DMD: What is the meaning behind the name Tuonela?
Ian Rochford: It’s the name for the Underworld in Finnish mythology. There’s no deep significance in that, other than originally I was intending to create a body of dark ambient work and it suited, even though it wasn’t my first choice.
The first track I created digitally (something wicked this way comes) used a recording of The Swan of Tuonela as it’s source. It was two am and I was anxious to post it. I tried to register on SoundCloud under several names, all of which were taken. Tuonela wasn’t. I was going to change it (initially I couldn’t pronounce it properly myself), but it stuck, and it certainly attracted the interest of several serious dark ambient artists from Northern Europe.
DMD: What albums/artists influenced you throughout your childhood?
IR: Just about all of them. Remember, we’re talking about the 50s and 60s here. I loved radio dramas, and the weird noises my cousin picked up on his crystal set. He became a Beatles fan, but teenage me fell for the Four Seasons, The Animals, Stones, then Pink Floyd, blues records… you name it, I bought it. In the late 60’s I discovered prog rock and electronic music. I just devoured everything.
I have to say one record that made a lasting impression and still intrigues me today was called “An Electric Storm” by White Noise, who were David Vorhaus and the extraordinary Delia Derbyshire. I regard "The Visitation" as the first piece of dark ambient I ever experienced, goose-bump stuff in its day.
DMD: What albums / artists do you listen to the most today?
IR: I don’t really follow any listening program anymore. I’m slowly selling off my collection, so I’m sort of working my way backwards through a garage full of vinyl, good and odd. A typical afternoon might include Savoy Brown, Miles Davis, Wrekmeister Harmonies, Mozart and Jeff Beck.
I’ve bought a lot of experimental, dark ambient & drone stuff over the last few years, but had to put the brakes on as money and space became hard to find. At the moment I suppose my ‘favourites’ are the artists I listen to most on SoundCloud, who tend to create in the same sound world that I do.
DMD: Why do you describe yourself as a primitive musician and what instruments do you play?
IR: I bought a guitar when I was seventeen, a lovely old Hofner jazz guitar with f-holes. I still have it and still can’t play it. I can plunk out a clumsy 12-bar and a crappy version of Greensleeves, and that‘s about it. I used to take it with me to parties and gatherings. Finally someone asked me to stop.
I sometimes use instruments to create sound samples for digital misuse – you know, lean on the keyboard, play the two chords I know. I now have four guitars I can’t really play. I even bought a duduk, but you need breath control for that – I nearly black out if I try to play it for more than two minutes. I have a box of assorted noise makers.
This is the main reason I call myself a ‘sound artist’ rather than a musician. I know quite a few good musicians and I know the lifetime of hard work and dedication (not to mention ability and talent) that they have applied to their art. I have no talent, an appalling sense of rhythm and fat fingers. I have to get there on a different path.
DMD: Your first release was the beautiful drone trip 'Tunnel to the Sun' back in January 2012. What would you say has changed about your music since then?
IR: Thanks, it’s still a bit of a favourite. That was the first Bandcamp posting – I’d been posting on Soundcloud since mid-2011. ‘Tunnel’ was an experiment using recorded sound. I’d bought a Tascam DR-07 and was recording everything. It was made from the sound of my electric jug boiling on a marble slab. I also made a track from the sound of my cat snoring
I guess not a lot has changed. The artists who directly inspired me to start this journey were 36, Barn Owl and Machinefabriek (I was impressed that one of his tracks melted the crossovers in my speakers). I started playing around with a copy of Audacity and was hooked. As I experimented I learned more, and a number of Soundcloud artists were very generous with advice regarding effects, software etc.
DMD: Other than Tunnel…what are your other favourites you have released or would recommend to a first time Tuonela listener?
IR: That’s tricky – I’ve released so much that I can’t remember a lot of it. I’d begin with the stuff on my SoundCloud home page, a track called ‘Return Of The Sorcerers’ and then just wade in and start listening randomly. Good question, though – I might make up a beginners playlist. Some of the early stuff was taken down before I got a pro account, you’ll find it on bandcamp in the Early Voyages series.
DMD: What equipment do you use for recording/capturing your sounds?
IR: Not much. The Tascam recorder is great for field recordings, but other than that most of the sounds I work with I either create from scratch digitally, capture off the net or from old cassettes and vinyl. I don’t have a synth and still haven’t bothered to learn how to use Ableton.
DMD: Where you in many bands before Tuonela?
IR: I was never in a band. We used to jam a lot when the world was young. I played some naïve guitar early on with friends to raise money for a film, and got stage fright the second time & hid in the balcony. End of career!
DMD: What happened for you musically between those early days and up to the birth of Tuonela?
IR: Not a lot. I got caught up with filmmaking in the 70s and 80s, went to film school, got married and never really considered that I’d be doing anything (musical) like this. The triggers were a tape of synth noodling I recorded one drunk & stoned evening in the 90s, hearing a wave of new ambient (Steve Roach etc) and buying a couple of albums.
(I think Memories In Widescreen by 36 was one of the first). I had started using Audacity (best free software ever) to record stuff off the net & the radio, and started experimenting with the effects suite. I posted my first track online shortly after that, in 2011.
DMD: What else inspires you to make music?
IR: All of the above, in different ways and combinations and at different times. I just finished reading Stephen King’s “The Dark Tower” series, found it very inspirational in that way that we use to create the soundtracks to “mind movies”.
I’ve never had any problem envisioning disturbing things. I guess I’m trying (a lot of the time) to create soundtracks for nightmares. Being unburdened by any melodic ability helps, to a point.
DMD: What other books/films do you like and had a big impact on you?
IR: Difficult to be specific, I think everything has an influence, some more than others.
DMD: Any gigs you saw in your youth that left a lasting impression on you?
IR: All of them! It was cheap and easy to get tickets back in the 70s (usually for about $5 Australian), so we saw Frank Zappa, Yes, Jethro Tull, Rolling Stones, Mahavishnu Orchestra, Bob Marley, Osibisa, Chick Corea, Joni Mitchell, Yes, Rick Wakeman, Black Sabbath, Split Enz, Tangerine Dream, Santana, Free, Pentangle, Deep Purple, Pink Floyd, Caravan, Slade… there were probably others, but the memory ain’t what it used to be. Zappa and John Martyn were quite outstanding, as was Janis Ian of all people.
DMD: Do you perform live with Tuonela at all? Do you have any other projects that you perform with?
IR: No, it’s really all about digital creation, just an old guy with an old pc and a load of (mostly) free software.
DMD: Do you have any favourites when it comes to software?
IR: Whenever I think I’ve reached the limit of what my cheap or free software can do, it surprises me. One of my favourites is a demo copy of The Mangle, which I use as a standalone processor. This severely limits what it can do, but I’m still extracting weird and wonderful sounds from it.
DMD: Who are the artists you listen to the most on Soundcloud?
IR: It varies a lot from week to week, and I’ve probably omitted a lot of people I admire greatly from what is a woefully incomplete list...
IR: I do most of it, using a brilliant free program called paint.net, though I do occasionally ‘borrow’ a photo or picture from the net. I used quite a few by FrodoK (http://frodok.deviantart.com/ ) for my ‘Sorcerers’ series, without permission I’m afraid, though I always attribute work where possible. Or mangle it so much that it’s unrecognisable!
DMD: When you aren’t making music what do you do with your time? What is your profession?
IR: Well, for the last couple of decades I’ve written for TV – mostly comedy – but with no work for a long time now you could probably call me retired.
DMD: Name your favourite dark ambient/drone albums
IR: Not easily, I tend to jump from track to track – It’s hard to go past early Zoviet France and Throbbing Gristle – I remember listening to TG in the late 70s and that was a life-changing experience.
Early stuff by 36, Nadja, Barn Owl. I listened to so much in a short time that it was difficult to find time to play anything twice! One afternoon I played a Machinefabriek CD so loud that my speakers overheated and filled the house with smoke. That was impressive…
DMD: Name your favourite classic prog rock albums
IR: Everything by Yes. Everything by Genesis, up to “The Lamb Lies Down On Broadway”. I used to love Brain Salad Surgery by ELP, but it’s lost a bit of its lustre over the years. “Thick As A Brick” by Jethro Tull. Most early King Crimson. Pink Floyd. Frank Zappa.
Pretty predictable so far… let’s see… “Butterflies” by Joy Unlimited, Culpeper’s Orchard, Gong (the early Daevid Allen incarnation) Peter Hammill, Gracious, Soft Machine and so on. I bought everything I could lay hands on back in the day.
All that obscure Vertigo stuff, early Harvest… some are worth a fortune now. Pity I don’t still have them! Lots of jazz, too. I had a friend who loved jazz and we listened to a lot of stuff, especially Miles Davis when he started experimenting with fusion.
Here’s some Albums that really shaped my musical imagination:
“An Electric Storm” by White Noise ; “We’re Only In It For The Money” – Mothers Of Invention; Soundtrack of 2001; Sgt Peppers, The White Album; Vanilla Fudge (Yeah, I know…); The Blues Alone – John Mayall; My Favourite Things – John Coltrane
DMD: I think its absolutely brilliant that an older guy like yourself is producing some stellar musical work! Do you often encounter any other music-makers online who are also in their 60’s?
IR: I’m still getting used to the fact that I’m 66 this year! Yes, interestingly I find that a lot of my sonic compatriots on SoundCloud are in the same age group.
DMD: Is there a big following for this type of music in Australia?
IR: There seems to be, and growing. Some very respectable and successful artists are working here and running labels, particularly Lawrence English and Room 40 and the wandering expatriate Kate Car and her Flaming Pines project.
DMD: You describe your vinyl collection as 'burdensome.' Do you download music these days and do you have any super rare vinyl you would never part with?
IR: I used to download lots, but never got around to listening to much of it. I still do occasionally, but I just lost a hard drive full and am experiencing a new round of techno-fear, combined with feeling a bit weary from lugging all this stuff around and having nowhere to put it. Getting a bit tired of stuff…
DMD: Finally, I must say that I admire your approach, what is it that keeps you sat at the computer making music?
IR: Thanks again for taking an interest in my sounds - it's funny, I still occasionally baulk at using the term 'music', even though that ground has been well and truly broken. I've known some good and even great musicians and I know how much time, sweat and talent goes into their art, sometimes I feel that whatever it is that I do comes a little too easily... then I sometimes sit back and think "Wow, how did I do that?" it doesn't happen a lot, but it's why I keep going...
Ever since forming solo project 'Building Castles out of Matchsticks' in the Winter of 2000, Canadian experimental musician Anne Sulikowski has been writing music that refuses to sit quietly in the music genre filing cabinet.
Achieving the enviable position of having her music appear on the popular TV show CSI (which is actually rather fitting since her full-time work is in forensic psychiatry) these days Anne divides her time between radio show ‘The Infinite Echo’ where she dishes out an eclectic mix to the morning commuters, as well documenting regular off-grid wanderings set to her tracks on YouTube.
Reflecting Anne's love of adventure, the music of Building Castles out of Matchsticks offers an extraordinary audio prescription for the modern day escapist.
DMD: Please give me the epic story behind Building Castles out of Matchsticks
Anne Sulikowski: I sort of wish I could begin this story by saying that one day I was coming home from school and I found an old chest packed with vintage guitar pedals inside a tree trunk that was actually an entrance to a secret underground city, with the leaves of the trees itself whispering for me to go inside.
Or maybe I could tell the story of a girl who built an arc so big to take at least 300 cool people all the way up north to find the entrance leading deep within the hollow earth, where apparently there is a secret city where everyone is good. Or better yet the story when I was woken from a deep sleep by shadow people, whom, not only could see through walls, but through time, through space, through you.....
The real story is I was barely out of high school, lost as most were that age. I wasn’t very popular at school because I always floated to the stranger side of all things, including music, films, political outlooks, fashion, conversations. I had a wildly vivid imagination and many things would bore me, leaving me spending significant time alone.
I played in a few bands and wanted to do something solo, didn't have any money, or gear or really didn't really know where I could have started, hence the name "building castles out of matchsticks" a friend said that to me once, as I was trying to get all my shit together. He said, “don't worry, with that kind of imagination, you could build castles out of matchsticks!" I thought it was such a cute phrase, but with deep meanings. I decided to start recording under that name.
DMD: What artists/bands initially inspired you to produce the sounds you are now making?
AS: I have always been all over the place musically, even back then. I can vividly remember exactly what I was listening to though on heavy rotation when I first started recorded music. My room was always filled with sounds of Sonic Youth, Oval, Stereolab and American Analog set.
Not to mention all the recordings my friends were doing, involving lots of knobs and dials....I was doing a radio show at the time (and still am) so I was always listening to so much music......its actually really difficult to state what inspired me initially....but I feel it was the actual people around me that inspired me most with their art.
DMD: What 10 albums do you always come back to?
AS: Flying Saucer Attack - New Lands
Casino versus Japan - Whole numbers play the basics
Oval - O
Broadcast and the Focus Group - Investigate witch cults of the radio age
Do Make Say Think - & yet & yet
Gary Numan /Tubeway Army - Replicas
Nudge - cached
Loscil - Submers
Atlas Sound - Parallax
Modern English - After the Snow
DMD: What is the Ontario experimental music scene like?
AS: Since I work full time in forensic psychiatry, most of the time I have left I spend recording, creating and wandering. I used to play live often but music is such a personal experience for me I actually get more out of the music process itself, so I focus more on presenting it as an aftermath for those interested.
I could list hundreds of talented and innovative artists around here, but the same can be said for any area really. Although I am quite extroverted at the same time I am also extremely introverted in the sense that showcasing myself and how I do my music process live is somewhat of a lower priority than showing the results I come up with.
DMD: What instruments did you learn growing up?
AS: Growing up I spent quite some time singing in choirs, so I guess voice would have been the focus? In grade school I did train to use a recorder, which I hated but actually used in some tracks years later.
I played a piano at my grandmothers house the wrong way, and a long time ago my father bought me a Casio keyboard that came with a song book which I grew sick of playing, so I would rearrange the existing songs and play then in strange arrangements, even backwards. The first real instrument I bought was a JP8000 when I was 19 years old. I can read music now, but never write music in any formal way.
DMD: What is your recording set-up?
AS: I experiment often with my recording setup and my music process. Things are never the same from day to day in my studio. I'm always changing things and trying new ideas and new ways to get new sounds or to arrange the sounds preexisting in my head together somehow.
Lately, I have been recording a long series of drones and improvised ambient sounds with guitar and various pedal chains and either using those as foundations to build tracks upon or simply sampling segments from those drone recordings and looping them into a sequenced program, lets say, like fruit loops.
I do not rely on soft synths or samples which I find limiting and hard to work with, making my music process really easy. I'm mostly doing multi-tracking with me playing instruments (guitar and keys) and real time processing with pedals using freeware like audacity. Then I use the sounds I created and build from there. Layering in subtle ways is how I create my recordings. I also use secrets. Lots of secrets. :)
DMD: How did you come to get your music featured in CSI?
AS: Out of the blue they contacted me on myspace. They said they have "hired people just looking online for music to use for the show" and added "your work is perfect". Even though I had never seen the show (been TV free since I was 19!)
I agreed to let them use my music as it was not only financially rewarding but an amazing way to build my resume, for future work for me. They used my music for some creepy parts.....it was a really cool experience to be involved in.
I have also sold works to the Ontario life network for a few episodes of their documentary series "Descending". One was called "ghosts of the pacific" where my music played while divers explored fallen war ships at the bottom of the ocean. Super cool to say the least. I really want to do more music for Films or TV in the future.
DMD: How many guitars, amplifiers & pedals do you own and which are your favourites?
AS: I literally have so much gear it makes people sick. Rather than fuelling peoples "gear envy" (don’t worry I have it too) I will focus on the main gear I’ve been using lately in my current set up. I have so many pedals I could open a little shop, but I won’t, because they are mine and I actually love them.
Pedals frequently used: Earthquaker devices Arpanoid, EHX Pog2, Boss Harmonist, Boss DD20, Red Panda Particle, EHX Cathedral, TC Electronic Trinity 2 Reverb, Boss Terra echo, Boss Multi Overtone, EHX Pitchfork, Boss RV3, EHX Superego, Boss DD3, EHX Memory Boy, Boss Feedback booster, Boss Slicer, EHX Flanger Hoax, Korg Kaoss pad, EHX switchblade. Sometimes I use a looper too. I desperately need a volume pedal.
Guitars: Fender Jazzmaster, Fender American Stratocaster & Epiphone Orange
Synthesizers: Moog MG - 1, two Roland JP8000s, Roland JX3P with controller, casio keyboards.
Anne's pedal hoard
DMD: Apart from music, where else do you find inspiration?
AS: Most of my inspiration comes from thought disorder, ideas of reference, circumstantial thinking, driving around for hours on end looking for for anything abandoned, my daydreams and of course my wildly vivid imagination.
DMD: What about your music would you say has changed since you released Window Pain 12 years ago?
AS: Let me tell you how much can happen in the span of 12 years. I could honestly go on and on and on. and on. I had amazing times, and really really terrible times, times so terrible that it forced me even to leave recording music for a couple of years altogether.
I survived my father dying which changed my life forever, he had cancer and it was honestly surreal to see his body give up against his wishes. I also survived a horrific relationship with someone who ended up being very very dark, and this darkness made him really really sick.
Things have changed for me now and I live the life I always wanted, and I am surrounded by people who are supportive, real and good. What has changed musically is the tone of my music, going from songs of remembering tormented times to newer times like now, times when I can focus on themes within myself and things I imagine rather than painfully expressing awful things that have happened and were happening to me. I am so much stronger now, both as a person and a musician.
I am not questioning things I record like I did when I was recording 12 years ago when it wasn't "the best of times". I dived into my personal life here as my music if a direct reflection of my experience. Now my songs are recorded with ease and I cover themes I want to cover, rather than recording as a mere coping tool. I am so much happier these days. A more tangible answer could be that the last two years I have introduced guitar as one of my main sources of my ambient sounds. Guitar with dozens of pedals. 😊
DMD: What made you feel the need to document these abandoned places? Would you encourage more DIY musicians to do the same since the golden age of MTV has been replaced by YouTube?
AS: I love taking photos, lots of them, and I've been addicted to taking photos for years now. I'm quite bipolar with a camera, it seems as though I'm drawn to either things forgotten, abandoned, decayed or ruined to that which is natural, untouched and places barely walked upon by man. It only made sense to also make videos, as the music I record is quite open to interpretation, making it a perfect medium to add a visual element to it, especially one that moves and tells some sort of story.
Having said that, the video design I arrange is also quite open to interpretation, as I very much enjoy the concept of an abstract story line, allowing the viewer to adapt whatever emotion the imagery to presents to them, paired with the music.
It is actually a wonderful age to live in, having things like YouTube, making the creative process easily shared without making sure it has a commercial quality to it. It allows for a lot of "real art" to occur, without all the corporate obstacles associated with things like MTV etc...
DMD: Please tell us about your radio show
AS: My radio show is called the Infinite Echo and it's a mix of experimental and electric music focusing on the obscure, the ambient, new and other forgotten genres. Mostly it's the sounds of robots all singing to themselves. It airs here in Hamilton, Ontario every Friday morning from 8 to 9 am on 93.3 FM and can be streamed from cfmu.mcmaster.ca
DMD: What do we need to look out for in the future from you and your various projects?
AS: I have quite a bit on my plate right now which I am pleased to say! The past year I have been heavily focused on music with all my spare time. An EP I have completed, called "magical thinking" is being currently released with Paper Plus Sound Records.
I have upcoming EP’s (many on cassette) in the works for release this year and early next year with the following labels: Zero Sum Recordings, Big Pharma Records, Orb Tapes, Grey Matter, and Assembly Field with my "dickhop" ep. Most of these are in the works and have not yet been finalized.
I have also just recently been featured on godhatesgodrecords compilation Anti fOrm 2 and Assembly fields V/A Compilation 4. My track "I have been to the bottom of the ocean" which is to be released on the Drone 8 compilation on Paper plus sound records.
Paracelsian Productions recently released their amazing three disc 30 artists compilation called "Cybernetic Ecosystems" which includes my track "Oscillating forest". I have two vinyl releases scheduled: A Vinyl split with Casino versus Japan (Erik Kowalski) and a split with Horizonte-de-sucesos (Marco Roberti, who is also occasional composer at dead voices on air) in Summer 2017.
I’m also doing more collaborative works with announcements coming soon. I am also planning on continuing video works for my music as well as for video works for musical friends. I am planning also on starting an online site devoted to my obsession of photographing abandoned places called "recreational trespassing" with my good friend Sonja Bernhard.
DMD: Lastly, is there anybody you want to give a shout out to?
AS: Hello everyone and thank you for listening xo
You can listen to the excellent Paracelsian Productions compilation here
(Anne's track appears on part 2)
and you can read an interview with PP founder Steven Beaumonthere
