birdspanker
Beautiful music that is so completely up my alley that it is as if it were made with me in mind. I would attempt to describe it, but the description above does an admirable job already.
E2E4 is pleased to announce “From Fountains to Sewers” a new release by
M.C. Schmidt of Baltimore electronic duo Matmos.
As with previous solo albums by M.C.S. (“Batu Malablab” on
Megaphone/Knock Em Dead, 2015 and “Aqua Sauvage / Stuffed Concrete” on
Northern Spy, 2019), this release consists of two extended side-long
compositions which, true to the liquid theme, seem designed to
meander, pool, and drift.
Side One, “The Palace of Smells,” commences with urban field recordings
made in Central Asia and then moves inwards towards a languorous interior
of subtly perfumed melodic abstraction before liquefying further, as close
mic-ed buckets and oceanic waves keep re-sizing the sonic body of water in question; a Radel Taalmala drum machine brings synthetic tabla into focus as a bed for organ and modular synthesizer meditations.
Side Two, “Jacquard Fax Ablution and Release” commences with a
rhythmic workout of primitive drum machine and jittery slices of sound
snippets before transitioning into a lovely piano etude that summons the
Sky Records aesthetic at its most pastoral; drums, slurred and slowed speech
and hypertactile ASMR burbling returns, and we seem to pass in and out of
the sewers invoked by the album title, arriving in an littoral soundscape of
mist and hissing electronic insect life.
M.C. Schmidt’s solo records are and are not solo affairs: here there are plenty of
guest contributors (John Hoegberg, Thomas Dimuzio, Will Schorre, John
Berndt, Nate Nelson and Schmidt’s partner Drew Daniel) but everyone’s
contributions have been folded and spliced and cross-faded into two
continuous experiences of textural change. Song-forms emerge and then
twinkle out into the ether as they are replaced by new forms. As with
the AI-generated image that is used as the cover, there’s the
sensation of a possible-but-non-actualized physical space that the
music proposes. Fans of cosmic music, dub, Fourth World, psychedelia, new age and musique concrete will find zones to inhabit here, but there’s something
unclassifiable about the aroma these sounds release.
credits
released April 24, 2022
M.C. Schmidt - synthesizers, pianos
(real and simulated), Samplr, school
xylophone, field recordings, rocks,
bucket, editing, mixing
John Hoegberg - Radel Taalmala
digital tabla, modular synthesizer
Thomas Dimuzio - Buchla modular
synthesizer, electric bass guitar,
mastering
Will Schorre - Supercollider programming
Drew Daniel - drum programming,
field recordings
Nate Nelson - drums
John Berndt - modular synthesizer
the cover image was generated with WOMBO
Dream using the prompts ‘Bukhara loom sewer
fountain wet sinkhole’
write to me! vagueterrain@protonmail.com
supported by 29 fans who also own “from fountains to sewers”
Really really REALLY pissed off at Rob Miller; Amebix were a seminal band for me and he goes and comes out with shit like this? I know time passes, and people change, but seriously; WTF? moggydon