Dragonfly, kiss your tail
Precious robot, built so frail
Universe of milk and ember
Your hot kiss in mid-December
What's God's name? I can't remember
Through the crack eye lovely weather
On • Pressed Flowers • Baby Teeth • Hip End Lover • Naked Polly • Soda Pop Heart • The Claw • Christ Potion • I Want Those Cars • Gnocchi • Water Hose House • Bald Rainbow • Bermuda Barb • Blessed Act • Gretchen • Benny Tucker and the Ant • Squares • Sweetia • Ten Cent Fence • Catapults • Little Dipper • Apricot • Mists • Red Press • Mara • The Walking Song • Lake • Ivory • Rotten Apple • Bacon and Eggs • Stutter • TV Shell • Vanilla • Lifeline • Viator
Nonstop needle drop: opening track “Married in Mount Airy” from Nicole Dollanganger’s 2023 record of the same name. Ominous, heavenly pangs. So delicately arranged it hurts. Like tinsel left to weather in the elements, metallic coating flecking away into a Christmas wind. Cried on my first listen, have continued doing so while burning sandalwood incense in my drafty bedroom, headphones glued in, rewinding if I miss even a millisecond of the various instrumental ephemera. Makes me want to wrap myself in damp peat Bella Swan New Moon-style and stare into a conifer abyss. For fans of Ethel Cain’s Preacher’s Daughter and Lana Del Rey’s Norman Fucking Rockwell!
My debut EP/album/thingy, Star Gardener! It's 6 songs of varying lengths and styles, just under 30 minutes long, and I am so proud it's finally seeing the light of day.
The great unifier between all these impressionistic, rickety, abstract tunes is the goal to provide the listener an uncanny sense of place, to tell fables through songs that all center around a fictional location, “Fox Kin Forest.”
All the songs are accompanied by a short story and individual piece of artwork that can both be seen by clicking on any of the tracks on bandcamp! But, I encourage you to make up your own stories if you do decide to listen, these are just my interpretations :3
To describe the sound of this thing, it's uhhhh a few things depending on the song. There's bits of ambient, field/nature recordings, freak folk, noise and drone, electroacoustic, piano bits, glitch, etc etc
Very much inspired by really old (like 2001-2003) Animal Collective, Ernest Hood's pretty ambient music, Whitearmor's solo stuff, and bliss3three's last album. I'd love to hear any thoughts, love it or hate it, because as much as I love hearing nice things about it I know it's nowhere near perfect, and I hope to improve from here :)
361: bill bissett & The Mandan Massacre // Awake in Th Red Desert
Awake in Th Red Desert
bill bissett & Th Mandan Massacre
1968, See/Hear Productions (Bandcamp)
(From “mor memoreez uv marvara reel konversaysyun,” scars on the seehors, Talonbooks 1999)
That’s a sample of how poet bill bissett’s writing looks on the page, phonetic and arbitrary, intuitive and free, while also checking the reader from taking any word for granted. The poems are frequently conversational in tone, but the way you have to sound out his writing to understand it means the reader's cadence ends up replicating the idiosyncratic singsong way bissett speaks. The 84-year-old remains a one-of-a-kind live performer, doodling all over the line between spoken poetry and song. He croons nonsense lullabies and pastiche ragas, shakes a maraca, intones mantras until their familiar words lose all their sense, even dances a little. It’s funny—I wouldn’t recommend his writing to someone unfamiliar with the avant-garde, but I would confidently take just about any open-minded person to see one of his shows. He has the affect of a holy fool or a joyful monk, and basically anything he does makes more sense in the context of his corporeal presence.
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Back in 1968 though, bill was a wild young man, and Awake In Th Red Desert, his LP with backing “band” Th Mandan Massacre, is full of noisy freakouts and some patience-testing explorations. The Massacre includes four percussionists, some trained (jazz drummer Gregg Simpson) and some not (poet Martina Clinton, bill’s then-partner); electric guitar; two flutes (one a toy); and cutting edge Buchla Box synthesizer by the otherwise unknown Wayne Carr. Response to Red Desert has been pretty mixed—one of its Bandcamp uploads even warns, “Please preview the tracks before downloading. There are no refunds.” I suspect many listeners don’t make it past the first side of the record, which often sounds like what it is: clattering free improvisations around bissett’s sung or shouted recitations. On the flip though, things mellow out for some fascinating minimal synth explorations, bissett doing his visionary thing on a haunting electronic field (see “fires in the tempul”). “she, still and curling” is particularly freaky, Carr making sinister cricket noises with his Buchla, tape of bissett’s voice chopped up into hypnotic loops, layered and manipulated till it sounds like a collage of short wave radio transmissions. The ramshackle noise of the early tracks eventually returns on the awesome “now according to paragraph ‘c’”: bissett reads what (initially) seems like a found text that gets weirder and bolder as the poet works himself into a lather, the Buchla’s bleak tones tattered by the percussion squad’s stiff beat.
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I snagged this off Montrealer Alex Moskos, who oversaw the reissue for Massachusetts-based avant-garde label Feeding Tube, and getting this thing back out there has clearly been a labour of love for him (the production quality is impeccable; great explanatory liner notes too). Are there 500 people who want this record? I’m not sure. But for fans of bissett, sound poetry, freaky music, and early electronic, this’ll be of interest. One idea: tell people Awake was the work of a solar death cult leader from the Pacific Northwest who disappeared during an eclipse and they won’t be able to keep the damn thing in stock.