Tumblr-esque aesthetics have never ever been so nauseating. We’ve seen it everywhere, and continue to see it here. But somehow Adderall Canyonly fed this appearance to the monster of the 1980’s, an American ghastly and gargantuan 1980’s beast, whose aesthetics are similar to Tumblr fast-food. One must admit that the aforementioned decade is more impressive when it comes to the aesthetics, then what Tumblr ever could deliver. It seems like this man is tired of putting out material for almost an eternity, well yeah – four years now – and not getting as much as a glance from the trendy music-press (both mainstream and the so-called ‘underground’). However, what makes the aesthetic nerve of his project even more interesting is the covers for his releases, which seem to be bright pastille-colors blended together with the adolescence of cartoons. Add that together with their rather psychedelic influences and you have a formula that they’ve settled for. If you’re not being fooled, Addreall Canyonly is the alter-ego of Wayne Longer, based out of somewhere-in-America. Probably a rather boring place, with regards to his musical fantasies. This is Part I.
January – 2010
They Live? Or Bronson?
His first official release “Fists Of Dayton!“, was music made for a “They Live” kind of movie, with the same name. Imagine that, together with the actor Charles Bronson, probably most known as the famous protagonist Paul Kersey – from the movie Death Wish. Unfortunately, the movie was never released. So the album itself went on the shelves for a while, and was put up back in the 1st of January, 2010, on Field Hymns – for your listening pleasure. This album is compromised of nine tracks, and the music itself is an insight into the experimental electronica, with synth-driven music as the main component – which was a very popular approach in the 1980s. Making it a very interesting release.
Blend that together with the roughness of krautrock, and you’ve probably got what he is, but it’s clearly not summed up with this album – which was entirely different. He also acknowledges the fact that his music on this album was from his first era, and sadly enough only era, of producing cinematic music. According to himself, it was recorded with the usage of vintage synths and old broken drum-machines, captured via reel to reel. Which makes this album an interesting first-look at an Adderall Canyonly that was something entirely different to begin with. It’s sad having to realize, since the music on this album really is a lot better then his ego might reveal for us. It is actually really great. Too bad there wasn’t any movie, and that he had to leave this genre. Available as a free download.
What are we going to do?
Since then – they’ve released fourteen albums in total. Some featuring a wide-array of tracks, some serving as mini-albums. I’m about to guide you into his world, release by release, until we hit his recently released album. Which is the two-tracked release “The Limits Of All Known Ice“, put out very recently. All very differently looked at, depending on what you focus on when first laying your eyes, and ears – upon this solo-project as such. Here we feature “Fists Of Dayton!” (2010), “The Ascension of St. Diamond and the Battles of Oxtest” (2010) and “It Was Dark And Stoney Night”. The beginning of Adderall Canyonly, from 2010-2011, to be continued in a second Part, very soon.
August – 2010
Neil Diamond in outer space!
Here’s where things get a wee bit fun. Since his first unfortunate defeat with cinematic music, he rose again and created a cosmic album. A kind of concept album titled “The Ascension of St. Diamond and the Battles of Oxtest“. It’s also here where Adderall Canyonly meet Field Hymns, whom released this on a cassette for him. The description of the meaning behind this album is rather bizarre. It’s actually about “Neil Diamond entering a black hole and his inevitable fate within“. Accordingly, he describes the musical influences – or common denominators, to be “a cross between Gil Melle’s score of The Andromeda Strain and Delia Derbyshire on a vision quest“. You can actually hear what he means by that. Even though it is nearing those domains, I would say that this album is a virtual reality as displayed in between the heartbeating moments of the Terminator-score, and a German hippie trying to discover himself by injecting a fluid form of krautrock into his system. One must applaud him for the atmospheric content that is displayed between the layers, and layers – of complex electronica, and experimental debauchery. Clearly a masterpiece of crossover electronica, filled to the brink with experimentalism, and a downright frightening but eye-opening – atmosphere. This was the second release, by Field Hymns – on the 1st of August – exactly seven months since his first release on that label. Pretty far out, ma-an!
The wonderful artwork of this release seems to be the signature of what Field Hymn-artworks really are. The clean-cut, but rather dismayed portrait of a human being, traveling through LSD-infused visions by a counterpart – viewing him from his profile. A rather clean graphic profile whilst one moves out of the boundaries that are centered to the middle. It feels like the portrayal is watching me, and not in a good way. Upon viewing this artwork, I did not see what I saw the second time I looked at it. There’s a sublime, but very noticeable, small skull – in the left eye. Also, there are eyes on his chin, watching you from below. You can also see what seems to be a part of two cat-eyes that are lurking between a third pair of eyes. A really great artwork which makes you find little details you just didn’t find in the first place, whilst looking at it for the first time. Ingenious, to say the least. There are currently only four physical cassettes remaining, so be quick to buy one of them.
March – 2011
1980’s horror movies?
Almost a year later, or rather; eight months – Adderall Canyonly return with his 1980’s formula. According to himself, it was taken from “two years of musical meanderings of analog synth jams and 80’s action movie filled nightmares”. What I think of when the first song gets on, is horror movies from the 1980’s. Especially “A Nightmare On Elm Street” when Nancy meets Jason in her dreams, a day after her best friend Tina is murdered in a dream, by the same man – as her boyfriend can do nothing about it. The scene where that occurs is when she falls asleep in her chair at school, daydreaming and seeing her friend in a body-bag, and then as she is being dragged into the school cellar. It’s there where she ventures deeper down into her slumber and meets Jason. You can clearly hear some influences, or likeness of the music – with some of the music – especially from that scene, from A Nightmare On Elm Street. Check the clip down below, and beware; for those of you who don’t like to be frightened by scary movies.
When it comes to the influences as such, I would also like to mention that some of the atmosphere in this album can be related to that of the atmosphere in the music for the 80’s horror movie “The Thing“. Especially when it comes to the scene with the dogs being infected by the alien being, which is also the first encounter with it in the movie – despite the happenings before. A lot can be said with even more horror movies from the 1980’s, which is a decade that has influenced this album a lot. But it has got a nocturnal sound to it, and the atmosphere is frequently metamorphosing into something else. You can watch a scene from the movie The Thing down below.
Bizarre sci-fi maximalism or minimalism?
But it must be said that he adds his own vibes to it, with a lot of sci-fi inspired sounds that make you want to catch the nearest shuttle and venture into space. As if the music wasn’t weird enough when it comes to the general rhythm of the thing, the track-titles are interestingly bizarre. For example: “Kerpoodle“; with direct reference to the poodle on the cover, perhaps?, or maybe “Kraautasquatsi” could be seen as a blabbering and deformed alien trying to communicate with us humans, “Retardtenders, Rectumheads” – seem to be a reflection of his tiredness from having to create awesome music, but getting no recognition for it. Another title which might not be as bizarre is a fuck-you finger to the hipsters, with the track being called: “Hipster Cred” – which seems to be a Skinny Puppy-like jab in the throat, too, for those annoying creatures who take over everything good and make it meaningless.
Even though it’s in general a synthesized journey into space, with sci-fi overtones, there are some rumbling tracks that are put in as mere placeholders – even though the sound of it is pretty great. So, there’s more to this potpourri then it would seem at a first glance. A notable ingredient in this is how the sound is less grandiose, except when it comes to the atmosphere, and involve a lot more minimalism into the mix. Especially a variant of minimal synth and/or wave. The cassette itself is unfortunately sold out, but you can download the album for free digitally.
Poodles and old men?
When it comes to the cover, it’s even more bizarre. An old man sitting with a poodle in his knee, with the poodle having glaring red eyes, formed by two painted dots where his eyes would normally show themselves. I’m not really sure what it’s all about, but it works for me. Even though the artwork ain’t nothing fancy at all, it brings out the bizarre nature of this album out in the open. The album itself was placed on Field Hymns, and so were the other two – on the 1st of March. There seems to be a certain form of symbolism involved with having every release put out on the first date of each month.
This is the end of Part I! Go to Part II? It’s coming up, very soon.
- a nightmare on elm street
- adderall canyonly
- charles bronson
- death wish
- delia derbyshire
- field hymns
- fists of dayton!
- gil melle
- horror movies
- invisible guy
- it was a dark and stoney night
- minimal synth
- minimal wave
- part 1
- part I
- paul kersey
- skinny puppy
- the andromeda strain
- the ascension of st. diamon and the battles of oxtest
- the limits of all known ice
- the thing
- they live
- wayne longer