Grew Up In A Drought / Live Enemy
(Crippled Intellect Productions) Used Split LP $6.00
“Brutal but highly sculpted oscillator articulations by Nate Young and Steven Kenney recorded live in Chicago 2007, backed with Blake Edwards’s high-volume grit flail.” Edition of 500
HACE/26,250' b/w 11° 22.4'N 142° 35.5'E
(Misanthropic Agenda) LP $16.50 (Out-of-stock)
(Misanthropic Agenda) Used LP $11.00
Inspired by early explorations of extreme locations -- and the clash between the will of humans, the limits of their bodies, and the immutable laws of the natural world-the latter which can easily destroy both of the first two -- Blake Edwards’s primary device is a Russian Polivoks synthesizer. The “11° 22.4'N 142° 35.5'E” side (based on the 1960 dive by Jacques Piccard and Don Walsh in the bathyscaphe Trieste to the Challenger Deep in the Mariana Trench, the deepest known point on earth) mirrors the combination of analytic scientific preparation and calibration that the team did, and the inherent and unavoidable human concern of dying should anything go wrong. The “HACE/26,250'” side (named after High Altitude Cerebral Edema, which has the greatest potential for striking in the Dead Zone [26,250 feet], where available oxygen cannot sustain human life for more than three hours) is a soundtrack for a body closing down; heart rate slowing, blood flow slowing, everything once moist and carrying life slowly becoming brittle, dry, and unable to function due to duress. Edition of 200 copies, packaged in tip-on jacket.
The Ocean Is Gone The Ship Is Next
(Groundfault) Used CD $4.00
Blake Edwards composed and recorded The Ocean Is Gone The Ship Is Next at Papin Sisters Studio in Chicago between 2001 and 2003, except for one track recorded live on WLUW. The audio terrain ranges from crunchy and dense sonic chaos to off-kilter rhythms to deep evolving drones, making plenty of stops between. Sealed
We Had A Few Sprinkles Today But Not Enough To Help Out The Garden
(Crippled Intellect Productions) Used CD $4.00
Treatments and sound manipulation by Blake Edwards. Deep, subterranean ringing textures. Flanged croaks and other textures from a microscopic universe. Low register thuds and tiny sounds deep in the distance. Quiet, tortured sounds with high-frequency intrusions. Stuttering, panned samples and hollow dings, reminiscent of harsher noise at a lower volume, but with a swirling, almost psychedelic quality. Almost-musical loops heard through reverberations and audio grime. Sealed