NO! Spotlight: Dry Socket / Ray Creature! [Part I]

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I found a rather anonymous label which is situated in Terre Haute, Indiana. The American label that I found is called NO! Record Label and is hosting itself on Tumblr, giving off a rather secluded interior for me to find mysterious. All the better, because it leaves much to my own imagination. This mysterious label have released two releases before those that I am going to cover in this spotlight. One of the releases are of Drekka and Assimilation – a kind of live re-work of each others live performances – but also a late introductory for me to Michael Andersons brainchild Drekka. This was actually the first release to be put out on this label. The second release was a compilation featuring the artists Drekka, NOON, John Flannelly, Canid, Assimilation and Agakus. Featured musicians working in the Bloomington, Indiana area, described by the label: “a collection of tracks that represents the loose circle of musicians that play weird electronic music together in basements, coffee houses, and bars“. But the two releases that I’m going to cover here are Dry Socket and in the second part; Ray Creature. The aforementioned a collaboration between Michael Anderson and Dylan Ettinger. I hope you’ll enjoy this write-up.

a0823392091_10Dry Socket. Having recorded a demo back in 2011 that never got released, this release titled “Violator EP” is a re-worked version of that recording. What strikes me at first is that it sounds like some kind of lounge version of industrial, together with the experimental tendencies that a mixture of their spaced out sound together with Michael Andersons vocals. The rhythm is slow-paced and steady, serving as a point of reference when listening, as the synthesizer sounds morph into differentiating sounds all over the place at the same time. When still being caught adrift by the first track, it feels like a combination of the expertise that Dylan Ettinger showed on his split-release with Goldendust on DKA Records and the gruesome experimentalism with his ambient touches. Even though a lot of the ambient heard in Drekka cannot be heard here, it feels like when they’ve joined forces, nothing is impossible. But I must say that when the song is about to end in the last three to four minutes, the windy atmosphere of what Michael Anderson can and have produced makes a turn back into ambient territory. Flaunting the beauty that can be heard through both synthesizers and other instrumentation. Next up is a sense of immediate urgency with the other track, with the outdrawn and melodramatic synthesizers that take each of their turn to whip you into the wonderful atmosphere of the track. Giving it even more of the old-school industrial sound together with screeching and violent vocals that make turbulence a must. The different passages in this song makes it even less vague than the first one, albeit the organic sounds and the synthesizers bounce on each other in a fist full of fury, it is easy to feel when it turns into something else – changing the pathway of the song. But just before the song is about to end, in the three to four minutes as usual, things get out of hand and a stormier landscape of sound can be heard before it dies out completely. The limited cassette of fifty copies can be bought from NO! Record Label. You’re also able to stream the release in full down below.

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