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7"
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KRAYON 014EP
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2010 release. Wheezing skyward-born machine groans and gasped tremolo root to a kinetic pulse, while distant melody zones ascend to circulate around the bass flex on this face-chewer by Neil Campbell. On the flip is the first vinyl cut by Glockenspiel; flocculent tones weave with tom rub and bowed metal harmonics, drifting on the back of a drum dub to the heart of a snow-blind haze of feedback, amplified string scrape, and analog electronics. Art by Noah Campbell.
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7"
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KRAYON 018EP
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2010 release. On the Flaherty/Corsano/Yeh side, oceans of drum kit fire bawling and fluttering string overtones fuse a complex web of ear asterism, infiltrated by a woozy sax line that soon reduces in duration and increases the overall vehemence with fragmented reed chewing rasp and roar joining a myriad of coordinates in this dense labyrinth of free magic. On the flip stunningly crafted harmonic percolations of feedback glare and riff particles slam into tantric drum force blast beats by Matt Skitz Sanders, on this unexpected monolith from Oren. Art by Paul Coors.
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LP
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KRAYON 017LP
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2010 release. 180-gram vinyl. A jawdropping collection of crop circles etched in sonic candy-floss by New Zealand's beardsmith/noise-farmer Campbell Kneale. Rated by the horse's mouth as the best thing he ever made, EVER, Blue Eyes Are My Reward shimmers like an icicle-clad forest resplendent in its own crystalline magnificence. Snake-charming groove, dub-like boomph, and bleary-eyed strum blast the path out of a decidedly graying world of so-so metalized MySpace drone into a miniaturized drone-prairie of super-powered star-shine and dazzling stellar-commotion. Beyond the tyrannous clutches of omnipresent zeroes and ones, the macro and micro merge into an all-encompassing nowhere of sound, each expansion checked by equal contraction like Messiaen's "modes of limited transportation" scrambled by the Large Hadron Collider and replayed by one of those little twinkly watch reflections that occasionally dance around on the roof.
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7"
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KRAYON 012EP
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2009 release. Two sides of bent frown jazz from the hardcore supergroup of C. Spencer Yeh, Jon Lorenz, and Ryan Jewell. Side A comes on all fifth dimension -- violin scrunch and squeal, hard tom rub, and dense harmonic blowing pushed right to the front of your brain box; a frantic fanfare with locked horn and strings before giving in with a wheeze and a tinkle. Side B's call and answer shies away as fragments fragment into bowed skin, seesaw string microtone, and rasped mouthpiece until spunk rock free jizz looseness explodes in downtown turntable street. Artwork by Wyvern.
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LP
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KRAYON 021LP
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The A-side drops straight into one of those time-evaporating sleights-of-hand from a simple stack of loops. A tidal guitar figure wraps around sparse ricocheting foundations of moiré percussion as harmonic resonances flow in and around the space, segueing into one of the most beautiful pieces Vibracathedral Orchestra have ever caught on tape. A truly glorious cascade of pentatonic feedback augmented by circling horn ascensions and the ever-present hand drum and shaker, rattle and oomph. The B-side was recorded on the same binaural bonce as the A but instead is a fully blown-out NO-FI blast documenting a performance at Cafe OTO and features trap-star Chris Corsano. A wild, snow-blind, open-cranium trip. Corsano's drums flatten to a blur of metallic clatter, spiky overtones, and room-levitating bass drum punctuation. Ideas rise and fall from within the maelstrom of their ritual; a two-finger tonebank solo teeters on the brink of its own crisis, the occasional astral whizz-bang floats around the ear-space drawing out your mind's focus, a bloated, head-nodding bass riff appears, everyone gets involved. The shred goes seriously out, taking every head and item of furniture not nailed down with it. Art by John Godbert; design by Michael Flower. Mastered and cut by Lewis Hopkin.
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