To be released on cassette and digitally on 5/25/18. Black tape with white imprints. 2-sided 3-panel J-Card with artwork from HausMo Max.
Long Distance Poison is the time-dilating ambient/drone project of Brookyn-based duo Nathan Cearley and Erica Bradbury. Knock Magh follows 2015’s Lama Nada tape on Hausu Mountain and a catalog of releases on labels including Ecstatic Peace, Constellation Tatsu, and Deep Distance. The album presents three sessions of transportive synthesis that unfurl as cresting landscapes populated with Cearley’s mutating modular frameworks and Bradbury’s analog keyboard performances. Evolving synth patches begin as slow-dripping textural expanses and blossom into rich beds of harmony lined with accents of fine-grain alien noise. Long Distance Poison distinguish themselves among a varied underground of kosmische-minded projects with their acute focus on the physicality of their synth tones and the developing narratives of their extended sessions. Subdued fields of electronic murk burst into action with the arrival of interlocking mid-range and low-end voices that craft new rhythmic grids against shimmering, intensifying foundations. Akin to synth pioneers Popul Vuh, Long Distance Poison channels a reverence for the natural world into organic networks of electronics that mimic the teeming procedures of organisms at the cellular level to the movements of bodies on a cosmic scale. Robust modular melodies ripple and slap down into the stereo spread in distinct percussion-like patterns that shift over time from tiered harmonic systems into chaotic swirls. Chordal keyboard swells shift the mood in slow arcs from tracts of liturgical grandeur to obfuscating swamps devoid of human semblance. Far from exercises in stasis or loop-based minimalism, Knock Magh‘s compositions offer branching pathways through distinct moods and tonal upheavals. Like Eduard Artemyev in his scores for Tarkovsky’s The Mirror and Stalker, Long Distance Poison heighten their meditative drone atmospheres with arrhythmic, anti-melodic synth voices that land closer to raindrops or bursts of wind against physical backdrops. Electronic elements serve as stand-ins for diegetic sound sources, painting instances of moving imagery that meld with the legible cyborg melodies of the duo’s machines.