From list No. 316
The only real downside to an Expo 70 single, is that it's ultimately frustrating in its brevity, as the music of Justin Wright, aka Expo 70 (or Expo '70, they seem to have lost the apostrophe on recent releases) is far better served by longer formats, lps, cds, and while both of these songs are indeed fantastic, it's almost criminal to cut them off after only 4 or 5 minutes, these are the sorts of sounds meant to sprawl and ooze and spread and extend for ages and ages. But as far as complaints got, it's a minor (and not entirely negative one), you'll just have to stick close by the turntable so you can lift the needle and set it right back at the beginning again.
No great surprises or strange sonic twists, just more of that thick dark gloriously heavy space kraut drone we've come to expect. The A side is some seriously deep and drone-y outer space exploration, warm languorous tones over a softly grinding and pulsing buzz, sweeping and epic and darkly mysterious, glistening melodies shifting from speaker to speaker, very new age-y for sure, but a sort of dense and blackened new age.
The B side begins all growling buzzing low end thickness, laced with space-y squiggles, long high end streaks and glimmering tones, beneath the blissy drift is a warm whirring and a softly corrosive crumble, all wound up into epic slow building swells of deeeeep deeeeep buzz. So nice.
Gorgeous full color covers, and of course LIMITED, it's already sold out from the label, so these will be the last copies we can get.
LOST INCHES Blog (in Italian)
Ideale compendio al da poco uscito Black Ohms, questo 7” è l’ennesimo centro per Justin Wright, aka Expo ’70 e per la sempre più ottima Trensmat. Della seconda si è già parlato e si tornerà a breve a farlo per commentare la trilogia Sonic Attack, tributo in vinile piccolo agli Hawkwind con dentro Kinski, Acid Mothers Temple, Bardo Pond ecc.
Di Expo ’70 invece si è parlato in altre sedi (SA n.51,nello specifico) ma le due gemme racchiuse in questo 7” non possonopassare inosservate, poiché dimostrano come il droning d’origine krautamesso in scena dal solitario di Kansas City si trovi a suo agio anchesu distanze meno estese.
Le late night improvisations Sunglasses (lato A) e Transcending Energy From Light(lato B) mostrano l’anima notturna e ossessivamente trancey di Expo’70, affidandola ai due metodi del procedere musicale di Wright: Sunglasses evidenziail lato più fluttuante e malato, con le maree montanti di synth lìpronte a fornire una versione a-ritmica e spacey del kraut tedesco; Transcending Energy From Light,come da titolo, apre invece agli arpeggi di chitarra in modalitàipnotica che si depositano sul sostrato droning nero-pece comepulviscolo proveniente da un cortocircuito spazio-temporale con laCalifornia psych più deviata e astratta.
NORMAN RECORDS (UK)
Here's a brand new 7" on Trensmat by Expo 70, called 'Sunglasses'. Not heard of this chap before. I cracked the single on though and was knocked back by the dark psych fuzzy drones which blew into my ears. This is some well intense and spooky sounding noise music. It sounds like someone is sat on a keyboard while someone else is dropping weights on them (to make the noise more intense) and in between that there's plenty of pyschedelic Clanger whooshes and knob twiddling to keep even the most reformed drug user happy. Don't sit on your keyboards at home though folks. If you're tubby and and your keyboard is not well balanced bad things may happen. I don't want anyone whining to me they've knacked their Roland or anything like that. Also there's drawings of mystical skulls and a hairy bearded bloke on the cover which is really doing it for me right now. Excellent!
DUSTED MAGAZINE Still Single feature
Still Single: Vol. 5, No. 2
“Sunglasses” b/w “Trancending Energy From Light” 7”
My first exposures to Expo 70 here – can’t cop all the CD-Rs and tapes and such, nor would I have the time to listen to ‘em all – but I understand the praise now, and think it goes beyond people trying to put records in your hand. The duo lays down a full, expansive bed of drone, allowing it to recede when necessary (nice ebbs in “Life Sucking Panther Blood,” from the split LP), and giving it enough time to grow and wither before adding simple, effective melodies on guitar, bass, synth, etc. All three of these sides are keepers, with the 7” tracks being a little more insistent given the brief runtime of a 45 single, and the LP offering finding a comfortable pace of development over an entire side. Rahdunes are a trio, featuring Indra Dunis of Numbers, but the herkajerk analog pain of that group is all but gone here, replaced by a languorous, deep groove, punctuated by hand percussion/drum machine and made all the more tripsidelic by extensive use of reverb, fading vocals, and coils of guitar sliding skyward. I find this maybe a bit less deep than the Expo 70 side, but far more listenable and engaging. Fast, loose rhythmic shuffles shimmy through loops of effects and earworm note patterns, in a style fairly similar to Blues Control’s. Definitely want to hear more. Nice silkscreeen job on the LP, too. Very strong object value overall.
Trensmat kick off 2009 with another two limited 7”s that encapsulate the ephemeral vigour of two fantastic artists. Expo 70 is Justin Wright, a practitioner of deepest kraut and droned landscapes.
The two tracks play at 45 yet feel like the disk is spinning in warped treacle-thick delay. Whirring drones build via a tanpura styled backdrop – electronic rather than eastern in its sound. Delayed guitar is played via high melodies via various whistles that feel like trapped minor birds in final exhalation. Jammed traffic impatience streams with headache bliss, in erotic tones as felt in Ballard’s “Crash”.
Kettle whistles and droning base move with electric formations like the Cosmic Inferno played at half-speed. Deep tonal hypnosis flies at you with fervent directness straight out of the speakers. The noise feels awesome and disconnected from reality, as if absent of musician or silicone intervention. This feels organic rather than a kosmische Tron-neon jump suit. Shards of light and dark pierce imagined horizons of refracted beams. It feels as if the sound has been played against a circus mirror and beamed back via mars.
Jump on board and don’t get off. 8/10 -- Peter Taylor (12 February, 2009)
Much joyful celebration in our gaff at the arrival of the latest brace of releases from Ireland’s desirable boutique label of noise and strange sounds Trensmat. Fearing they were lost in the recent snow drifts said package was duly dropped off safe and sound wherein they were immediately dispatched with haste to the nearest sound emitting facility. Awash with the celebratory bunting we carefully prized open the package and put the first platter to hand on the stereophonic device.
Of course Expo 70 should be no stranger to regular observers of these pages, indeed we marvelled at his recent full length ‘black ohms’ for those purveyors of the perfect sound Beta Lactam Ring though we are suspecting that since then and now the bugger has probably released on parole a further legion of self released cd-r’s to an ever growing and dare we say much deserving underground cognoscenti. Essential the work of former Living Science Foundation guitarist Justin Wright who in recent times has seen fit to keep the Aquarius record outlet busily working overtime dispatching limited issue opus’ seemingly at the drop of a hat. Two cuts feature on this ultra limited and destined (as with all the previous releases from Trensmat) to clear itself from the shelves and into the domain of online auction sites - see Wright ever more advancing his exploration into the un-chartered voids of sound. As previously the textures are monolithic and chillingly majestic, utilising all manner of guitar based improvisations and manipulations, Wright sculptures a richly mind wiring drone canvas which sees lead out track ’sunglasses’ in comparable company with the likes of the Kranky old guard Stars of the Lid and Roy Montgomery (and come to think of it Bruce Russell), all at once bleak, barren and sparse though beautifully so, an underlying hazy transcendentalist quality is inscribed on the proceedings, the gentle flotilla of reverberating riffs pining into the hollow voids casts a melancholic almost introspective and longing personality that acts at odds to the under-pinned cavernous like sombre stillness which in the final analysis makes it something disquietingly soothing and serene.
Flip the disc for the far superior ’transcending energy from light’ - monochromatic sparsely whirring drone is the order of the day all interspersed by frequency loops and various sound modulations, not so dissimilar it has to be said to the kind of eerie pulsating hums that I’d imagine originating from the undercarriage of an extra terrestrial space crafts console unit but don’t quote me on that, and to all those UFO / conspiracy theorists around sh ould you happen across this - no I haven’t been onboard a flippin space craft and no neither do I want to be enrolled in some Goon-ish Area 51 fan club - frankly I have problems enough of my own. Anyhow deeply hypnotic and mesmerising, to many listens may warp your mind or at the very least fry your brain - in terms of reference markers think early career Pimmon shimmying up to EAR with the resulting inner space sonic stew being reheated and re-calibrated by John Carpenter.
Of course it goes without saying that you need this in your record collection.
MY RECORD COLLECTION.ORG
This short 7" single finds Wright in a profoundly altered state as he brings us some of the most spaced-out drone compositions of his recent work. Sunglasses is basically Bobby Beausoleil's soundtrack to Kenneth Anger's Lucifer Rising in a drone setting. In fact, I'm certain this track would make a fabulous alternate soundtrack to the original film (Mr. Anger... If you ever read this!) Layers of fuzz upon layers of fuzz pile up as the song slowly progresses into an intense mystical head trip which just might let you see the shape of time. With Trancending Energy From Light, we suddenly lose all notions of physicality as our minds disintegrate into pure energy and we become witness to natural phenomena which science hasn't even explained yet. Trippy you say? Fuck yes! And I would even go so far as to say that this minor release needs to be heard by all those who are curious about the artist's work. If this one doesn't get you hooked, then nothing will!
RECORD COLLECTOR Magazine (UK)
Record Collector's Single Cream by Spencer Grady
Justin Wright takes an almighty sweep of the kosmische wand to construct a couple of monumental dreamscapes, all motorik removed to leave only the transcendental timeless drift of an undulating throbbing swirl. These are elemental Wild West space mission macrocosms (Sergio Leone shooting up in Sputnik), condensed into 7" grooves; monolithic waves crested by whistling kraut-rocking Argonauts, serving up the music of the spheres with side order of saccharine guitar. If you loved Emerald's What Happened set on No Fun, You'd be wise to grab yourself a piece of this.
Justin Wright is a Californian who packed up and moved to Kansas City. Why he did this I dunno, but he has been pumping out a steady stream of superb kosmische noise ever since, and this new single is a great way to hear it. Burbling guitars in the style of early Gottsching combine with deep space stasis aktion in a most compelling way. Kansas. Wow.