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To be released on LP and CD on June 26th, 2026. Design by HausMo Max. LP available in wood smoke and black color configurations – packaged with a full color insert and liner notes by James Toth. CD packaged in 4-panel gatefold digipak. This is the catalog page with album information and artwork. To purchase, head to our Bandcamp page.
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Over nearly two decades, composer / multi-instrumentalist M. Geddes Gengras has released an enormous catalog of wide-ranging, synth-focused music in solo and collaborative settings. He has participated in influential experimental groups like Sun Araw, Pocahaunted, Robedoor, and Akron/Family. Along with Sun Araw’s Cameron Stallones and a host of Jamaican singers and artists, Gengras blurs the boundaries of dub and electronic music under the banner of Duppy Gun Productions. The project initially solidified with an acclaimed collaboration called Icon Give Thank (RVNG, 2012) with roots reggae legends The Congos. His solo works have appeared on labels including Room40, Leaving Records, Holy Mountain, and Umor Rex. After many years living in Los Angeles, Gengras now calls upstate New York home.
M. Geddes Gengras returns to Hausu Mountain with Guest List, his fourth entry in the label’s catalog since 2019 and the first to be issued on vinyl. His albums for HausMo have ranged from the topographical ambient synth networks of I Am The Last of That Green and Warm-Hued World (HAUSMO88, 2019), to the dense technoid beat experiments of Time Makes Nothing Happen (HAUSMO109, 2020), to the lush post-rock-adjacent harmonic architectures of Expressed, I Noticed Silence (HAUSMO127, 2022). On Guest List, Gengras composes the most ambitious and omnidirectional song cycle that he has ever captured in the context of one album, weaving his own synths and electronics into a dense tapestry of contrasting genres and ideas all animated by the presence of an enormous cast of collaborators. In Gengras’s hands, the infinite-limbed drum performances of Greg Fox, the ecstatic guitar explorations of Ben Chasny (Six Organs of Admittance), the soaring vocalizations of Christina Carter (Charalambides), and the contributions of many more artists become individual brushstrokes to paint across the canvases of his dense mixes. Channeling sonic details from his wide circle of friends, Gengras broadens his range of expression and composes the most communal and ultimately personal program of music in his bottomless catalog.
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Guest List features contributions from:
Colin Blanton, Christina Carter, Ben Chasny, Tristan Dahn, Meg Duffy, Will Epstein, Brian Foote, Greg Fox, Cyrus Gengras, Grey Gersten, Otto Hauser, Louis Johnstone, Seth Kasselman, Zach Koeber, Lungs, Kirin McElwain, Grey McMurray, David Menestres, Smhoak Mosheein, Cory Plump, Ben Seretan, & John Thayer.
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James Toth, best known as the spearhead of the project Wooden Wand, contributed the liner notes for Guest List:
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A modular synthesizer is a reactive, unpredictable instrument. Each new element added to the chain affects the whole, which can produce unexpected results. As with John Zorn’s Game Piece compositions, Autechre’s generative production strategies, or John Cage’s experiments with the I-Ching, an element of indeterminacy necessarily plays a crucial role in the creation of synthesizer music.
Journeyman composer M. Geddes Gengras, despite his well-established talents as a multi-instrumentalist, has long been most closely associated with the synthesizer. On Guest List, Gengras adds “bandleader” to his resume, but with a twist: he conducts his guest musicians with the unmistakable baton of a synthesist. By presenting raw material to his collaborators and providing only minimal instructions, Gengras again places his faith in the unpredictable process of chance. This faith pays off handsomely.
The expansion of Gengras’ sound through the input of multiple contributors is something of a radical departure: In addition to his eclectic solo work, which has encompassed everything from minimalist Moog fantasias and cosmic dub to feral psych-noise and abstracted Detroit techno, Gengras has long been a first call for artists looking to augment their work with the certain x-factor he provides. Here, the roles are reversed.
There is, of course, a risk involved any time an artist assembles a large cast of collaborators to execute their vision. This risk doubles when the work is largely constructed remotely, as it is here, with the individual players afforded creative carte blanche. Fortunately, Gengras’ deft editing instincts and fresh, tasteful arrangements allow him to avoid such pitfalls. Though his synthesizer work is present throughout Guest List, Gengras also knows, like any good bandleader, when to stay out of the way. It is this sound of communal brainstorming that imbues Guest List with its egalitarian atmosphere, resulting in music that sounds more suited to an intimate house show than a planetarium.
The thread that runs throughout Guest List is a decidedly modern take on a specific period of post rock; one gets the sense that Gengras has a great affinity for the fledgling “early Pro Tools” era that produced seminal sides by artists like Tortoise, Joan of Arc, and The Sea and Cake; a time when artists were just beginning to explore, via rapid advances in recording technology, the commonalities between indie rock and the nascent sound of IDM.
Given that Gengras has in the past frequently imposed upon himself an intentionally limited palette of sounds, the comparatively maximalist sound of Guest List presents a stark contrast. Though the album retains the tactile character of his previous work, here Gengras adds a wealth of new, unpredictable colors. The deep sophisti-pop vibe of “All the Light” is more Blue Nile than “Blue Calx”; Ben Chasny’s guitar mesmerism hovers over Gengras’ soulful and stoned electric piano on “Laplace/Montagne,” sounding like a CS + Kreme disco edit of Earth’s Hex; Or Printing In the Infernal Method; Cory Plump’s stentorian, Saccharine Trust-y vocals on “Seven Dials” provide a crucial callback to Gengras’ DIY basement punk past before the track climaxes with some truly sublime liquid guitar skronk courtesy of Hand Habits’ Meg Duffy.
The curveballs continue with “Soup,” an album highlight that doubles as a showcase for underground producer / emcee Lungs (aka LoneSword). Presented as bitcrushed boom-bap, Lungs’ verse sounds uncannily like a scrambled Beatnuts on-air freestyle circa 1994.
Guest List also contains the most drumkit-centric work in Gengras’ oeuvre, and the featured percussionists—Otto Hauser, Colin Blanton, John Thayer and Greg Fox—consistently succeed in delivering the necessary firepower and dramatic tension. Fox, in particular, is a marvel, occasionally sounding like a cross between a high-speed dub of Discipline-era Bill Bruford and Sunny Murray at his most octopoid and coloristic.
The album concludes on a particularly high note. “The Weather” begins with a monologue by enigmatic sound artist Louis Johnstone (aka WANDA GROUP) before giving way to synthesizer ripples, David Menestres’ probing contrabass, and the yearning saxophone of Zach Koeber; these elements then coalesce to form a bedrock for the haunted and haunting vocals of Christina Carter, which dash across the stereo field like a meteor shower, making for an epic finale.
In a 2018 interview with the Lebron James blog, Gengras observed, “If you’ve been admiring someone’s work for a long time, [it’s really cool to see] them get to a place where [they] lose the references and it’s entirely theirs.” Though Gengras reached such a place in his work long ago, on Guest List, the composer has never sounded so much like himself. There’s no little irony in the fact that it took a veritable posse of friends to assist Gengras in creating what is undoubtedly his most personal material to date. Maybe the takeaway is that it takes a proverbial village to fully realize a vision, no matter how personal that vision may be. Or maybe it’s something even simpler than that: maybe the secret to throwing a great party is inviting the right guests. – James Toth
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