Uncategorized – Scry Recordings

TO END IT ALL TO APPEAR AT APEX FEST 2020 (NYC)

February 1, 2020 by Joy Von Spain

On MAY 8-9, ANNIHILVS POWER ELECTRONIX returns to TRANS-PECOS for the first time in years to present APEX FEST 2020, featuring an assembly of acts working within the multifaceted substrata of industrial, power electronics, experimental noise, and beyond.

Advance ticket sales and more details will be announced soon.

LINEUP:

MURDEROUS VISION (CLEVELAND)
murderousvision1.bandcamp.com
T.O.M.B. (PA)
tombnoise.bandcamp.com
ORMUS (PORTLAND, OR)
ormus.bandcamp.com
TO END IT ALL (SEATTLE)
toenditall.bandcamp.com
TEN THOUSAND MILES OF ARTERIES (IDAHO)
ttmoa.bandcamp.com
TIMEGHOST (PROVIDENCE/NYC)
nexykl.org/timeghost
RECTRIX (PROVIDENCE)
pippizornoza.com/pippi/music
THE VOMIT ARSONIST (PROVIDENCE)
thevomitaraonist.bandcamp.com
VENERENCE (NYC)
https://chondriticsound.bandcamp.com/album/just-for-you
OCTONOMY (NYC)
octonomy.bandcamp.com

DJ DEREK RUSH (Chthonic Streams)

DJ PLAGUELUSTRE (There is but none)

why I live in Seattle

December 22, 2019 by Joy Von Spain

Uncategorized

I can tell you, it was glorious. Rain unending for days in a row and deep indigo skies…

“According to the climate blog of University of Washington Atmospheric Sciences Professor Cliff Mass, Dec. 20, 2019 was the darkest day ever recorded in the 20 years since the school has been recorded solar radiation on the roof one of the atmospheric sciences building.

Mass said they measured just .37 million Joules of solar radiation over a square meter surface on Dec. 20. The previous record low was .39 million Joules in December of 2006. For comparison, the university recorded 27 million Joules in July.

“Everything had to be perfect to achieve this depressing record,” Mass explains in the blog. Not only are the days incredibly short because of the almost-solstice, but there have been intense storms around Seattle for days.” more HERE

NOISEPOETNOBODY: Toilet Ov Hell Streams New Track From Experimental Sound Alchemist; Concrete Vitalist Nears Release Via Scry Recordings

November 16, 2019 by Joy Von Spain

Uncategorized

NOISEPOETNOBODY: Toilet Ov Hell Streams New Track From Experimental Sound Alchemist; Concrete Vitalist Nears Release Via Scry Recordings

“With masterful construction, something as benign as two hummingbirds having a slight confrontation becomes menacing and unsettling, and the sounds of urban living and urban destruction wind around it. This is soundscaping at its finest.” — Toilet Ov Hell

Stream / Share NOISEPOETNOBODY’s “Concrete Vitalist Part 2” At THIS LOCATION

Toilet Ov Hell is currently streaming “Concrete Vitalist Part 2” from experimental sound alchemist Casey Chittenden Jones, otherwise known as NOISEPOETNOBODY. The track serves as the second movement of NOISEPOETNOBODY’s forthcoming full-length, Concrete Vitalist, slated for release next week via Scry Recordings.

For well over fifteen years, Jones has been soundtracking the collapse of civilization under the moniker NOISEPOETNOBODY utilizing homemade instruments, synthesizers, field recordings, and modular equipment to create haunting, discordant, and broken sounds to express the need for creativity in a dying ecosystem.

Recorded, mixed, and mastered by Jones with layout by Zach Wise, the audio collected for Concrete Vitalist’s four movements includes performances on city sculptures and utility structures with a contact mic, destruction of major road over passes, hummingbirds in violent confrontation, and an old decaying piano harp with e-bows pressed towards strings and rusty nails thrown into it. Angular minimalist synthesizer textures interact with sounds from other times and places. Reconstructed reality for imaginational dreamscape soundtracks.

Writes Toiley Ov Hell of the latest track, “With masterful construction, something as benign as two hummingbirds having a slight confrontation becomes menacing and unsettling, and the sounds of urban living and urban destruction wind around it. This is soundscaping at its finest.”

Stream “Concrete Vitalist Part 2,” only at Toilet Ov Hell, at THIS LOCATION.

Concrete Vitalist will see release on CD and digital formats November 22nd. For preorders and to sample opening track, “Concrete Vitalist Part 1,” visit the NOISEPOETNOBODY Bandcamp page at THIS LOCATION.

Performing in underground venues, bars, art galleries, abandon buildings, and illegal DIY spaces and forever seeking to promote mental deprogramming through anti-commercial sonic immersion, each NOISEPOETNOBODY set is a one-of-a-kind exchange of energy employing analog electronics and improvised inspirations via speaker cones. NOISEPOETNOBODY has collaborated frequently with Butoh dance artists and released a 12” (The River) with choreography instructions composed by Vanessa Skantze.

Most commonly associated with the genres experimental, minimalism, noise, industrial, drone, his solo works and collaborations have been released by Scry Recordings (Drone Box, 2019), Lens Records, and Public Eyesore, among others. NOISEPOETNOBODY has participated in numerous festivals and series including NorCal Noise Fest, Perpetual Dune, Eugene Noise Fest, Olympia Experimental Music Festival, and Modular On The Spot. Jones also originated the Driftwood Orchestra, Seattle Dismal Fest and currently joins Peter Keller in the duo Dosenöffner.

http://www.facebook.com/noisepoetnobody
http://noisepoetnobody1.bandcamp.com/
http://soundcloud.com/noisepoetnobody
http://www.scryrecordings.com
http://www.facebook.com/scryrecordings

NOISEPOETNOBODY: Experimental Sound Architect Unleashes “Drone Box”

January 17, 2019 by Joy Von Spain

Uncategorized

Drone Box by NOISE POET NOBODY is a set of two ten-minute immersions in layers of minimalist drone. The drones were created with home-built slide guitar and e-bow, electronic tanpura drone box, and Moog analog bass waveforms with multiple re-ampings.

To order, go to THIS LOCATION.

This album is also available through Spotify, iTunes and many other streaming and digital music services.

Drone Box Track Listing:
1. Drone Box, Pt. 1
2. Drone Box, Pt. 2

For well over fifteen years, Casey Chittenden Jones has been soundtracking the collapse of civilization under the moniker NOISE POET NOBODY utilizing homemade instruments, synthesizers, and modular equipment to create haunting, discordant, and broken sounds to express the need for creativity in a dying ecosystem.

Performing in underground venues, bars, art galleries, abandon buildings, and illegal DIY spaces and forever seeking to promote mental deprogramming through anti-commercial sonic immersion, each NOISE POET NOBODY set is a one-of-a-kind exchange of energy employing analog electronics and improvised inspirations via speaker cones. NPN has collaborated frequently with Butoh dance artists and released a 12” (The River) with choreography instructions composed by Vanessa Skantze.

Most commonly associated with the genres experimental, minimalism, noise, industrial, drone, his solo works and collaborations have been released by Lens Records and Public Eyesore, among others. NOISE POET NOBODY has participated in numerous festivals and series including NorCal Noise Fest, Eugene Noise Fest, Hipster Death Fest, Olympia Experimental Music Festival, and Modular On The Spot. Jones joins Peter Keller in the duo Dosenöffner, organizes Seattle’s Dismal Fest and leads the Driftwood Orchestra.

To End It All - live at the Highline Bar Seattle 2017 / photography by Wade Risteen

To End It All – live review by Andrew Buchanan-Carter

July 9, 2017 by Joy Von Spain

Uncategorized

Avant-garde, Death Industrial, Joy Von Spain, Masaaki Masao, Noise, To End It All

To End It All’s spirit tree: The Boswellia. Deep in the heart of a dry place exists a certain tree. Branches of odd beauty grow out from something ominous and overshadowing. At the base of this organic structure the ritualistic denouncing of vile forms can be heard, marking a descent into the scornful damning of plagued souls. These words loom heavy above the troubled rumble of claustrophobic power electronics dirges which are the blackened roots of this hardened mass. Recalls Plague Mass-era Diamanda Galas by way of industrial doom as if a conduit for agony and disgust. The wretched are cursed and spat upon. The end result is something assaulting and confrontational punctuated by moments of lulling sonic solitude. This is the music of troubled land; a desolate soundscape where damned souls are banished.

Andrew Buchanan-Carter (live review)