So, Repeating Frank's Drifts1+2 albums have been available in their original video format for a while now, but the audio was also pulled out and mastered at the time they were made. It was never released because the video is the full experience, and being recorded only by the camera itself, the audio is kind of rough and distant.
After coming across the audio again recently though, there was still plenty in it of interest, and it's cool to have this instrumental side of Repeating Frank. So enjoy this collection of side journeys, as they meander through bright country fields, cold deep canyons, and stark mountain cliffs.
11.11.2011
// SGE: White Light
So here it is - the lost Summer Gets Electric album. One taste and you'll see why it's been sitting so long - Grade D dirty jams, even for SGE. But there's some hidden gems and a whole lot of fun in the all-out over-driven southern swamp rock assault.
White Light (Heat Comes Down) is the unreleased second session of SGE, featuring some of the magically insane electric guitar work of Evan Evans (and its title is an obvious nod to White Light/White Heat). This is the main session that helped define the identity of SGE, and is the only session actually recorded in the summer (July of 2006) other than the final Ultra Violet Haze album.
The vocals are way peaked out and every thing is on eleven (which makes finally releasing it on 11.11.11 all that much more appropriate), but this is probably the most hard-charging and dirty fun of all the SGE albums, and now that we are digging in the archives and broadening our horizons, it's time to share it for what it is.
It's been brought back to source files, re-edited and mastered, and is as tight as it's going to be. And, as always, the night ends with some D in the Mouth. Ultra-dirty classic.
White Light (Heat Comes Down) is the unreleased second session of SGE, featuring some of the magically insane electric guitar work of Evan Evans (and its title is an obvious nod to White Light/White Heat). This is the main session that helped define the identity of SGE, and is the only session actually recorded in the summer (July of 2006) other than the final Ultra Violet Haze album.
The vocals are way peaked out and every thing is on eleven (which makes finally releasing it on 11.11.11 all that much more appropriate), but this is probably the most hard-charging and dirty fun of all the SGE albums, and now that we are digging in the archives and broadening our horizons, it's time to share it for what it is.
It's been brought back to source files, re-edited and mastered, and is as tight as it's going to be. And, as always, the night ends with some D in the Mouth. Ultra-dirty classic.
10.30.2011
// SGE: Acoustic Nights
Welcome the return of Summer Gets Electric, with some unearthed rare gems. Digging through the archives, we stumbled upon these unreleased outtakes and kind of dug them, so we dusted them off and made these two e.p.-size releases.
Acoustic Beat Down comes from the unreleased second session of SGE, featuring the magically insane electric guitar work of Evan Evans. These semi-acoustic tracks were recorded while waiting for the drummer to show up, and showcase a different side to SGE. The full album from the second session should hopefully be released soon as well.
Long Misc Nights is, as it sounds, a collection of misc songs from many nights, mainly the epic Cold Roads/Hard Paths session. It sort of creates a mini-album of it's own, taking in many styles, from classic intro Open Wide, to middle instrumental title song Long Nights, through the unending funk of Take It to the Bridge (dare you to make it through) and, of course, the night always ends with some D in the Mouth. Classic.
Acoustic Beat Down comes from the unreleased second session of SGE, featuring the magically insane electric guitar work of Evan Evans. These semi-acoustic tracks were recorded while waiting for the drummer to show up, and showcase a different side to SGE. The full album from the second session should hopefully be released soon as well.
Long Misc Nights is, as it sounds, a collection of misc songs from many nights, mainly the epic Cold Roads/Hard Paths session. It sort of creates a mini-album of it's own, taking in many styles, from classic intro Open Wide, to middle instrumental title song Long Nights, through the unending funk of Take It to the Bridge (dare you to make it through) and, of course, the night always ends with some D in the Mouth. Classic.
10.10.2011
// aphasein: Cryolyst
All the way down the rabbit hole; a final batch of deconstructed remixes (and yes, these are the last). This time taking the process to the coldest extremes, the 4 tracks of the Cryolyst e.p. are plunged to freezing depths by slowing them down to 3 times as as long (though still plenty dense), drenching them in echo, and dropping many of their samples down an octave or more. The tracks feel brittle as they strain and crash through the dragging chill, full of distant howls and little glimmers of brightly brilliance reflecting off the deadly ice. Take the plunge.
9.29.2011
// aphasein: (bored) six
And so we reach the end of (bored), the final plunge into shimmering lakes of sound. Caulk Dust fights its way through the static to build colossal structures of warm melody and skittering drums, turning an already epic song into a monumental undertaking. Tooking Glass subverts the soaring original into an off-kilter journey down reverberating halls of quiet madness punctuated with intense joy. Jump in.
9.19.2011
// aphasein: (bored) five
Two short side-tracks, from down the far-side of the mountain. Blinded Lie builds up a stately orchestral structure, then freezes it in place as the countdown collapses (the rest of the programming is somehow missing on this one as well, but it seems oddly appropriate and a short track is definitely appreciated). Carrot Ice plays around with space, slowly corralling it into a bubbling and churning, banging and clanging groove. Enjoy.
9.09.2011
// aphasein: (bored) four
Two more journeys far afield, from the modern to the ancient. Modem Failure stretches out, increasing the distance of the original and adding a digital crispness to the muddy signal. Tibetan Rap Soda locks in and out of step with its transcendental chaos, finding ancient grooves in its odd timbres.
The images (album covers? mp3 artwork? what are they now really?) for all of the (bored) project songs come from the leftover source images that were picked, but not used when making the Bohr and Bohm album artwork. And there just happened to be twelve extra images (an unusually large amount), and they lined up really well with the new song titles, fitting one to each. An interesting synchronicity. Enjoy.
The images (album covers? mp3 artwork? what are they now really?) for all of the (bored) project songs come from the leftover source images that were picked, but not used when making the Bohr and Bohm album artwork. And there just happened to be twelve extra images (an unusually large amount), and they lined up really well with the new song titles, fitting one to each. An interesting synchronicity. Enjoy.
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