Zaïmph – ‘Evolucao’ cs

Marcia Bassett’s study of a checked-out Rhythm Master reveals a stack of glimmering overtones in its corrupted hum. Combed bossa programs turn around a hall of purgatorial voices and automata clangor – an amped malaise played through the resonant afterlife of the record’s titular evolution. Dungeon Taxis 27.

 

Pod Blotz – ‘Timeless’ cs

Suzy poling's dream-spun poiesis cascades in bewitching style, an invitation/abduction to an echoic world of poltergeist sirens in screwed chant, distorted-lens keyboard glare, knotty dance moves and radiophonic dub. Dungeon Taxis 25.

TLAOTLON - 'Teeth Alphabets' cs

Jeremy Coubrough's byzantine stepper of tuned detonations, radiant circuitry and molecular percolation rocks in hyperbolic space - an Aqua Worm Hole of talking-drum boink, atomized bounce and damaged Schaffel, filtered as Ewe music through the dizzy mixed meter and ecstatic syncopation of Footwork. Dungeon Taxis 23.

Ryan Jewell - 'Infinite Light' cs

Ryan Jewell's astral audition of Furniture Music and study in clairaudience develops through the serene modulations of its reflective, percussive bowing. Part I is an ember of yogic minimalism and cantabile, Part II is the slight return. Dungeon Taxis 20.

Pak - 'Cast Shadow' cs

Artifact miniatures of choral filament and cardiac thump dunked in impish mains buzz and cyclic nice gunk. Lauren Pakradooni's palimpsest of crawly melody is kindled in fungal medley, lattice of ooze. Entropy in the mouth of the earworm. Dungeon Taxis 21.

Legendary Hearts - 'Music from the Elevator' cs

Andrew 'Angel Eyes' Cowie and Kieran 'Superstar' Hegarty's debut as Legendary Hearts bends Fourth World drum programs through a heavenly screen of Romance keyboard moire and subaltern electro ostinato, elegantly ghosted by chimed Dream & Desire guitar counterpoint. Six glassed arenas of upstairs tuneage and vanishing point melancholy in BM/EZ ascension. Dungeon Taxis 22.

Chronox - ‘Gwandalan’ C22.

Lacustrine mood service of tidal zonation and depth-sounding outlook music, transcribed from devotional watching sessions at the Coastal Mirage Tabernacle in Lake Macquarie, NSW. Face A surfaces across a GUI island of synthesizer coruscation and littoral splash; B returns as a tritone horizon of heavenly warble and remote Siren exultation. The Melbourne duo had their equipment set up for days, and would rise from the porch every now and then, change something, go back to the porch and stare across the water. Dungeon Taxis 19. $6USD

Richard Francis - ‘Acid Songs’ C26.

RF’s infra-ordinary sound environment unfolds as a lysergic fugue before dissolving under a burny din of runny hiss, graphed room hum, wibbly sines and crinkled air. Only just sticking within the Goldilocks Zone of its own repurposed crystalline blankness, and ‘dropping the pressure’. Live recordings made between December 2010 – July 2011 in Auckland using oscillators, sine waves, spring reverb, eq filters, delay, noise, microphone, hands, paper, empty spaces, loop maker, computer. Mixed July – September 2011. Dungeon Taxis 18.

Witchuals C40.

Chrome hymn zone of nonstop doo-wop detourn by celestial grouches, LA Lakers and I.R.D. Laryngeal juice, fake rataplan, and Kyrie gunk in praise of The Honeycombs, Chordettes and Sharades. Dungeon Taxis 17.

xNoBBQx - ‘Muryoku Muzenji, Koenji, 2010 / Happy, Wellington, 2009’ C30.

Flipped reprisal of that 2009 New Zealand incursion, this live Tokyo/Wellington diptych steps to the mic in unruly, xenolinguistic fashion, it’s squashy ‘drums’ and ‘guitar’ fission the most munchy and hyperventilated of all Matt Earle and Nick Dan’s released programmes. Muryoku Muzenji, Koenji, 2010’s counterpoint creature squall dovetails with rhizomatic kit blare and toothed glissandi in horn-like confusion. Happy, Wellington, 2009 is such an unreal Bolero – like crazy tormenting 4/4s, gamelan detunes, and poltergeist tempo hassle. Dungeon Taxis 16

White Saucer/Currer Bells - split C24.

Pink Air walkers, Stella Corkery and Alan Holt’s beautifully titled and likewise assumed ternary form of glow jams cross Stella’s cymbal loiter, shaker susurration, and fanned out wild flam drags with Alan’s zero zero to total dipper synthesizer fields. Tim Coster and Angeline Chirnside’s Currer Bells side comes through a faraway hinkypunk peal, yielding to a warbled zephyr of healing chime sustain. Recorded in balmy crepuscular rays at Peaking Lights’ Good Style Shop in Madison in 2010 with distortion pedal, cassettes, walkmans, Just Chimes, mixers, delays, thumb piano, looper, Korg DS-10, freeze, harmonicas, guitar, wedding bells, Monotron, phaser. Dungeon Taxis 15

Kraus - ‘Supreme Commander’ C32

Unhinged In-A-Gadda-Da-Vida and cool Arecibo message from the Wayward Son of melted arena rock and wipe out/freak out goo. Fungal guitar moire and triple-tracked martian riffage time trek into a wriggly medieval manor of fuzz through a retro-futurism that is like nothing else. Interstellar mineral insert by Clementine Nixon. Dungeon Taxis 14

SF. 'Ghost Pulse' c23

Would’ve called this set of stunning organ and guitar vignettes ‘spectral’ if it wasn’t for its already right-on christening. Did call Sean O’Reilly King Loser’s éminence grise once and the feeling stays. Has to be the musical doyen of what Deleuze would call the ‘in-between’. Looked across and saw him clapping his hands unamplified whilst playing in the Renderers, too. It was in the heat of a refrain and he was just grooving out, in tacet. His reticence is cool but this tape is next level. Sick to hear something of his very own for the first time since the Supra EP on Flying Nun. Dungeon Taxis 13

Adam Willetts. 'In Wondrous Dimensions' c30

Three spellbinding passages of Empyrean gurgly elegance and lustrous harmony from the graduate of transportative modular synth forms. Definitely channeling an exquisite Neuronium force here, but Willetts’ chilled maneuver over the Reef is nonpareil. Title’s no cheesy hyperbole, just a topographical account brought back by a location scout for the next Space Harrier game. Dungeon Taxis 12

xNoBBQx / Bruce Russell. Split c40

Swarm minimalism’s an imaginary genus, but both of these sides invoke hive spirits from an ultra limited instrumental capital. Matt Earle and Nick Dan’s crashy blues and slowly volatile trench/crest punk is made up from guitar and drums but it sounds like the fly-tipping of an entire neighborhood’s broken cutlery on some credulous English garden. Ripping cassette-recorder solo two-thirds through, decides to drink and burble the mix for about a minute probably through incapacitated puzzlement? Not really Nigerian pop music, but if Jùjú means ‘something being thrown’ then these two fit the description. Flip has to be one of the wildest manifestations of Russell’s stereo guitar Qigong actions - bustling and pumpy heterodynes and crepitating silences conjured like paper wasps in some cyclone-like resonance. Exorcised but in no way removed from the premises. Pretty sure he’s a Warlock. Some of you may know him? Dungeon Taxis 11

Muura / Plantation. Split c80

Matt Earle’s chiming plen air side has a gorgeous Mosque ambiance that’s softly punctuated by a cycle of muffled vocal recitations shrouded in Adhan-like decay. Nothing much else like the rainfall fidelity and oneiric hiss of this one - it’s both a candid yet otherworldly and distant sonic zone, scattered with the glissandi cadence and cetacean spurt of peripheral traffic and remote, pedestrian mirth. First and last recording by Plantation, probably because they change their name every day? It’s Lakers and IRD kind of doing the Four Foundations of Mindfulness thing. First track is ineffable Sireny celebration rock. Second one’s kindling punk, contrapuntal recorder whirl and elfin loop that goes to your face. Third is vibes, drums, tape and miniature koto. Fourth is really cool. Dungeon Taxis 10

The Futurians. 'Spacefreight' c30

Extrasensory manuscript from an epochal show at HSP, as witnessed by a kicked and neglected Sony cassette-corder TCM-939 somewhere in the middle of the gallery floor. Scrumptious laser moiré and aerialist ululation communicated through a blizzard of flange and distant tattoo. Oxidized and then eaten! Dungeon Taxis 9

Stuart McKay. 'Dripwatch' c20

Astonishing programme of unreal folk music and pyre mantra from Elsewhere. McKay’s delicate but inflammatory monument to cross-rhythmic acoustic guitar radiance, ligneous ragas and ruling tunes made from hardly anything is the lesson. The works are drumlike in their tolling and reiterative minimalism. Syncopated and layered interplay is strikingly cathartic but really really disquieting. Eloquent and angelic but kind of irate as well!? Shamanic voices evaporate from a sophomore song that becomes a Gamelan of aquatic and bitcrushy chimes. The harp-like contours of another one slowly crumble into a plucky microscopic breakdown before re-erupting as a luminous, tintinnabulating helix. Really good and not as obfuscate as my description!? Dungeon Taxis 8

Infernal Residue Deportment. 'Compactor Bile' / 'Herd Not Scene' c20

Rookie railcar leaper Rory Dalley channels the athletic parabola energies on this uprooted and winged heap of cremated beats, petrology funk and heavily composted Cadillac Fleetwood groove. Tape treks off in the Lower Paleolithic grotto mind, coalmining and telecombing the Sumner Beach fluorescence, shifting from shuffled sandhopper trapeze to iridized octopus kit-splash somewhere further down the floating coastline. Medicated contra-fizz and sunstroke splatter dubbed straight to the ebbing tide, then windswept to tape live over the unlearned spirits of Ginger Baker, Keith Moon, Mitch Mitchell and Levi Eshleman. Second side drifts the emblazoned offworld breeze of interrogated mini-koto and amethyst-clustered gunk-gaku. Explict Hex Scenes, Rug Use, Duck Language, and totally rated Basic Instinct. Dungeon Taxis 7

LA Lakers. Silk Lettuce Whitney Houston. CDR

'I have two plants in my office. One is a geranium, which has an oddly acrid scent that I quite enjoy. The other is a succulent, only parsley has started growing alongside it to become quaint potted companions, one stoic, indifferent even brutish, the other fleeting, fragile, even spindly. There’s another plant too, a bushy, banana looking leaf thing, but it sits on the other side of the room and is really only on long term loan' - Harold Grieves. Art by Peter Madden. Dungeon Taxis 6

Richard Francis & Clinton Watkins / Adam Willetts. s/t 7"

Emulsified dunes and slowmo mistrals committed to 7 inches of confinement somewhere in I Zwicky 18 by the antipodal trinity of the mind-juicing club: CMR zone-clerk Richard Francis, Whitebass’ Clinton Watkins and Saturn’s Adam Willetts. Probably written in 1610-11. First side blasts in with the sand-drinking mug-shot Francis/Watkins Hydrahead, conducting light-year syncopations, cryptozoological moshpits and gale enemy forces through the doorway of your featherweight stucco homes. Flipside captures the carbonated mind of Adam Willetts in the same place Anakin Skywalker must have been in just before he beamed over to the shadier side of synapse-shredding psychedelic pop music. Deep-as-Hell Rotella decollages from made-up worlds where this stuff grows everywhere. On Earth it’s cryptobotanical. Hydrophonic Dagobah loops, low-end data-obliteration overtures, and general all-round friendship-termination. Dungeon Taxis 04

LA Lakers. 'When' c20

Live to air in Lyttelton in May 2009 when the musician pretended to be a duo from Kaiapoi and conducted a fake interview with its revenant participants. Ominous mists embraced the surrounding hills, before creeping toward the quiescent harbour. Apologetic rainbows. Dungeon Taxis 3

Tom Phillpotts / LA Lakers. 'Chopin' split c10

Decay is Sustain's doppelgänger. Two drip re-scissions by visitant de-composers. Living-dead cadences hang out like stalactites, getting all invoked like last sighs and dissolving right into the baked revenant transmission. Cremated and subpoenaed virtuosities. Composted and blissed rigormortis longitudes. Biodegradable algorithms. Digital seance recitals. xeroxed epitaph codas. Hex matrix tape hish. Split C10. Dungeon Taxis 2

Creche - Apocope Sferics. CDR


Live-to-air rugcore dialectics between LA Lakers and i-Rory in Lyttleton. A System of Things. Voices trapped in soaring plateaux of transcendental grot, chasmic chimes in WHITE water shadow boxing on astronomical terms with ambi-valent vectors of split glistening plasma. Back down on the streets, poseur rodents spit back the sonic and masonic sacrament, abrupt contrapuntal requiems get spliced thru with joyous hypodermic chirps, and trolls hastily toll bells in drowned post-Ibiza trenches. It’s all wryly wrapped up in unique New Zealand geological maps that only just contain the splintered cartography of the artefact that lies latent within. Mars Attacks. Dungeon Taxis 1

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