To be released on October 2nd. C50 – Red tape with black imprints. Pro-dubbed chrome + tape. 2-sided 3-panel J-card with artwork from HausMo co-founder Max Allison..
As an untold number of ambient and drone-based projects continue to pour out of the American experimental underground, the New York-based duo Long Distance Poison has emerged to represent a high watermark of tonal fidelity and thematic depth in the analog electronic tradition. Since 2010, their wide catalog of vinyl and cassette releases on labels including Digitalis, VCO, Ecstatic Peace!, Constellation Tatsu, and many more, have documented increasingly complex experiments in the fields of modular synthesis, structured improvisation, and ritualistic live performance. Lama Nada, Long Distance Poison‘s first release on Hausu Mountain, presents two side-long sessions that the duo sculpted with the intent of conjuring abstract physical planes and embodying the shifting conditions of an organism’s state of being. Nathan Cearley and Erica Bradbury command a network of interlaced modular synthesizers and polyphonic analog keyboards, setting near-randomized processes into motion that guide the harmonic, rhythmic, and textural conditions of their burgeoning stereo spreads. They eschew digital sound sources, computer-based processing, and MIDI, while they embrace the forces of chance, entropy, and error as key components of their breathing synth system. As their sessions unfold, Long Distance Poison constructs a holistic incarnation of electronic music in which each high-tech sonic and physical element illuminates a truth with ancient origins.
Lama Nada begins with “Sangha Lingua,” a distilled manifestation of an hour long sound event originally performed at Printed Matter‘s 2014 Art Book Fair at MoMA PS1. The piece sketches out a ceremonial meditation built on stretches of tantric repetition and the lingering presence of heavy drone voices. Long Distance Poison channel touchstones like Popul Vuh and Klaus Schulze into cavernous mixes that juxtapose minimal space with bursts of percussive synthesis, while evoking the institution of the horror movie soundtrack with thickening passages of Carpenter-esque claustrophobia. The duo conceived Lama Nada‘s B-side, “Eardian Mana,” as a companion piece to “Sangha Lingua,” and recorded it an isolated house in the Hudson Valley at the peak of the winter freeze. Over the course of more than 20 minutes, the piece swells from the patter of an ominous creep through the darkness into a mammoth synth denouement weighted with peals of distortion and intensifying rhythmic patterns. We witness the slow decay of their electronic network, as fragmented melodies and sporadic noise formants burst into view, subsuming the session back into washes of fine-grain texture.