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Pulse Emitter / Date Palms / Expo Seventy / Faceplant

4 way split 2xLP

This four way split 2xLP features exclusive full sides of material from Pulse Emitter, Date Palms, Expo 70, and Faceplant (Aaron Coyes of Peaking Lights).

 

The material was mastered and cut to vinyl by Andreas [LUPO] Lubich at D&M in Berlin and pressed to high quality virgin vinyl at RTI. The 2xLP is packaged in a beautiful uncoated stock jacket featuring visual artwork by Will Hutchinson and is limited to only 1,000 copies worldwide with a free download coupon.

expo70rsd

PRESS

 

 

IMMUNE RECORDINGS

For Record Store Day 2012 Immune presents four artists from the American experimental/psychedelic scene that have truly bent our ears for quite some time. Each artist has recorded a complete side

of material specifically for this release.

 

Pulse Emitter is the work of Portland, OR based cosmic synth master Daryl Groetsch. Since 2003 Groetsch has been creating his own synthesizer pads and patterns which drift through cosmic and nature settings. A veteran of the noise scene of the mid 2000s, the music has returned to something more melodic and layered in recent years. David Keenan has said “no one is making synth

music that feels so organic, so rapturous and so ‘in tune’ with the contours of outer and inner space as Groetsch.” These are the first recordings from Pulse Emitter on Immune. A new full length album will follow on Immune later this year.

 

Date Palms is Gregg Kowalsky & Marielle Jakobsons from Oakland, CA. The duo began with a mutual interest in Carnatic and Hindustani LPs. Their debut album Of Psalms (Root Strata, 2010) was a statement in psychedelic minimalism driven by distorted, repetitive bass patterns. Their second album Honey Devash (Mexican Summer, 2011) was described by Aquarius Records as “a heady hybrid of spiritual Eastern jazz and rockish psych extrapolation”. Their first recording for Immune - “Night RIding The Skyline” is the soundtrack to a slow burning, low riding nighttime drive down the Pacific Coast Highway. Violin, bass, tanpura, Fender Rhodes and analog synths lead the way. Follow us.

 

Justin Wright’s Expo 70 project has been pushing experimental, drone and Kosmiche Musik to new realms for nearly a decade now. Constant touring and two critically acclaimed albums released on Immune have helped bring his name to the forefront of modern drone and Kosmiche Musik. The recording presented on this Record Store Day release was laid down in January of this year and features Wright on guitar joined by Mike Vera on percussion and Aaron Osborne on bass, showcasing a much fuller, heavier, and doomy sound for Expo 70. The music was prepared for a local vintage fashion show this past November, presented now here to showcase the trio line-up that has been performing out so far this year.

 

Faceplant is the solo work of Aaron Coyes (Peaking Lights, Rahdunes), described as his “solo modular hessian noise trance project”. Using his massive arsenal of home-made electronics and modular synths Coyes creates propulsive psych beats with a fractured dub/techno vibe. As Norman Records put it : “a total monged out electro vibe like Herbie Hancock on downers, with dubby swooshes and a repetitive melody.”

 

 

NORMAN RECORDS

Well, four-way splits don’t come much more cosmic than this, do they? Immune have put together a stellar line-up for this, with Pulse Emitter, Date Palms, Expo 70 and Faceplant each getting a full side of vinyl to really stretch out and make themselves comfortable. With this type of music it’s hard to really settle in with anything less. It was intended to be an RSD release but delays mean that it is just a regular mortal record instead. Also, if Date Palms and Faceplant were to collaborate, should they go by the name ‘Date Plant’ or ‘Facepalms’? Food for thought.

 

Anyway, on to the records. First one starts with Pulse Emitter, the solo project of Daryl Groetsch, and it’s pure astral synth all the way. His pieces seem to revolve around a descriptive one-word title for an almost soundtracky sense of narrative, and there are two tracks on here - ‘Bioluminescence’ and ‘Photosynthesis’. The former is more trebly and twinkly, the second more laboured and gradual and middy, with the twinkles not coming in until fairly late on; end to end harmonious synth bliss throughout this side ultimately.

 

Flip it and Date Palms drop a side-long offering ‘Night Riding The Skyline’ which is a drawn out bit of dusky East-meets-West mystical cosmic drift. Halfway through a repetitive fretless bassline with a real filthy Om-esque distortion on it brings us into a shuffling, hypnotic groove. Absolutely stunning slow-burner, this one, with smooth synth drones and organic tanpura ones blending together sensuously over that round, rolling bass riff. Super sweeet.

 

And just when you didn’t think it was going to get any better we’re onto the second LP, starting with Expo 70. This is not the Expo 70 I was expecting though! This is Expo 70 in rock trio form, with mainstay Justin Wright joined by Aaron Osborne on bass and Mike Vera on drums. It’s straight down to business with a crunchy repetitive stoner jam ‘Closet Full of Candles’, with Wright able to fully let loose with his cosmic shredding skills. The second track opens with a bit of cosmic droney tones which are more in line with what we’re used to from Expo 70 but a shuffling drum groove slowly creeps its way in, quickly blossoming into pedal note psych riff action with a big round bass tone while Aaron gets righteously soulful with his restrained psychedelic guitar moves. Dronier than the first track but still certainly firmly in the stoner rock camp.

 

This is fucking immense and entirely unlike any previous Expo 70 recording I’ve heard. It’s more like Black Sabbath crossed with Six Organs of Admittance. Me and Phil both want to know why Wright doesn’t play stoner rock more often because he’s totally in his element here. Phil says, “It’s raunchy, it’s sexy. I’d say it’s sexy rock.” Why do I even bother reviewing this stuff myself when the people around me are coming out with such pearls of wisdom?

 

Finally on side four we end our cosmic travels with three tracks from Faceplant, which is Aaron Coyes from Peaking Lights but without that girl who sings and plays the maracas. In these tracks he’s building up hypnotic, stumbling modular loops which wrap their spidery fingers around your synapses and trick your feet (and maybe more) into doing things they shouldn’t. It’s a swirling, densely rhythmic psychedelic sprawl that manages to be simultaneously manic and monged out. A party for your entire face to close off a phenomenal four-way love-in.

 

I was hoping everyone would’ve phoned in their appearances on this LP because I’ve already spent too much money on records this week, but this is some of the strongest material any of these guys have ever done. A truly splendid team effort.

 

 

BOOMKAT

**Edition of 1000 cut to vinyl by LUPO at D&M and pressed at RTI in USA, housed in uncoated stock jacket and includes download code redeemable from the label** Chicago's Immune Recordings summon four disparate synth music explorers onto one mighty double LP split. Perhaps most worthy of note is the side by Aaron Coyes of Peaking Lights, three tracks of funked-up, driving krautrock disco as heard from behind the speaker stacks in a narcotic haze of fuzz - the first one's got a deadly bassline and spiralling synths; the 2nd descends into mad aquatic FX and reverse edits, and the 3rd chugs on like a live recording of a Baldelli set circa '84 - seriously worth the admission alone! It's backed up with Expo 70 in stoner doom mode, carving out hairy-hand riffs and long-hair drums with a majestic synthdrone breakdown, while Gregg Kowalsky & Marielle Jakobsen's Date Palms invert that formula to languid raga drone and blunted drum machines, leaving Pulse Emitter to provide a lovely beatless stretch of 'Bioluminescence' and 'Photosynthesis'. Impressive stuff as ever from Immune Recordings.

 

 

EXPERIMEDIA

Immense and ambitious, this double LP distributes a full side to four very different artists and lets them each freely explore their respective genres. Stylistically, the material is all over place: from violins wafting over synthesizer haze (Date Palms) and deep psych-rock explorations (Expo 70) to woozy rhythmic mantras (Faceplant, solo project of Aaron Coyes from Peaking Lights) and effervescent synth layers (Pulse Emitter). But each genre makes sense among the Immune Recordings catalog and all four projects are tied together under the increasingly vague umbrella of minimalism. Originally slated for Record Store Day 2012 but only seeing wider release in late June, this four way split serves as both an expansive introduction to new listeners and a must have for fans of the contributing artists. – Ryan Potts, Experimedia

 

 

AQUARIUS RECORDS

Originally scheduled to be released earlier this year on Record Store Day, this was easily one of the most anticipated RSD releases, which now, just a few months late, is finally here! Avid aQ list readers probably don't need to know much more. After all, it's four different aQ faves spread out over two lps: Pulse Emitter, Peaking Lights, Date Palms and Faceplant (Aaron Coyne of Peaking Lights), each offering up a whole side of unreleased material.

 

But in case you do need a little more to go onÉ Pulse Emitter, aka Darryl Groetsch delivers two length drifts of celestial synthscapery, all new age raga shimmer, soft swirling swells, dreamy melodic cascades, all woozy and washed out, ethereal and abstract, laced with playful melodies and lush ever shifting textures. Date Palms deliver a sidelong slab of smoldering psychedelic minimalism, one that starts out deep and droney, but soon blossoms into something much more rhythmic, a super skeletal sprawl of krautrock like mesmer, driving by a spare programmed rhythm and a thick buzzing bassline, wreathed in sitar like buzz, the vibe laid back and swoonsome, with just a hint of sinister malevolence, the perfect soundtrack for endless highways through darkened deserts, with the various elements gradually growing more and more dubbed out before slipping into a final stretch of hushed mesmer.

 

Expo 70 starts their side off with some Sabbath like riffage, low slung and swaggery, and then the drums kick in, and we're in full on metal territory, classic old school doom, who knew they had it in them? Sure they flirted with it in the past, but here they go for it. The heavy riffing and caveman drum pound is laced with some more psychedelic breakdowns with killer sorta shredding leads, the sort of spaced out stoner rock jam that could go on forever, but here eventually winds down into an oozing sprawl of muted black buzz. The second track is more what we're used to from Expo 70, at least at first, a sort of brooding cosmic shimmer, thick layers of synth and guitar whirring and swirling beneath a cloud of shimmering soft focus FX, but soon the drums come in, the track ominously and malevolently krautrocky, before blossoming into full on psychedelic space rock blowout, a sky full of tangled leads, the drums pounding and propulsive, the bassline woozy and fuzzy and darkly driving. Another mega jam that needs no terminus, but before it's cut off by running out of vinyl, the drums drift off, leaving just the guitar again to slowly fade out.

 

Faceplant's side opens with a cosmic disco version of Coynes' Peaking Lights, all dubbed out and psychedelic, but seriously groovy, and darkly funky, squelchy synths, spacey shimmer, plenty of reverb and echo, squiggly synth melodies everywhere, total retro-futuristic dubfunk grooviness. The second track is much more murky and laid back, sounding like a way more psychedelic and tripped out Muslimgauze, lurching rhythms, beneath a sky full of effects heavy swirl, more synth pulsations and an almost housey throb buried underneath, before finishing things off with a track that finds Coynes doing his best Carpenter / Goblin style synthscaping, a warped VHS soundtrack dipped in dub and sent spaceward, heady and hypnotic.

 

Killer stuff from all four groups. And as you might have imagined, LIMITED TO 1000 COPIES. Includes a download coupon as well.

 

 

SLOW SWORDS tumblr

This stunning comp, originally planned as a record store day release, finally seems to be hitting the shelves, a limited four way split on the ever reliable Immune. Eardrums are scorched, burned, turned inside out over the four sides of wax, with names familiar and not. Pulse Emitter expands upon the developments made on this year’s Aeons, turning the long form drones hear there into something relatively more succinct, but, more importantly, fleshing them out with a much fuller palette. Date Palms release their first new material since their stint on Mexican Summer last year, coating over darkened electronics with droning violin. Expo ‘70 are as bankable as ever, unleashing a overwhelming torrent of spaced sound directly into the cosmos. What is of note is how their overall sound has been fleshed out even greater, as the new(er) trio lineup is heavy as hell, riffing into tomorrow with no end in sight. Faceplant might have the least name recognition here, but this project of Aaron Coyes (of Peaking Lights fame) has been going for years now, mirroring a general overall movement from the harsher end of noise to a more varied spectrum. His quarter of the platter does not disappoint either - squiggly electronics overtop of broken beat dub. As of right now, no copies from Immune themselves, but Justin (Expo ‘70) has some in his shop, and Experimedia is also selling a few. Don’t miss it.

 

 

SONIC MASALA Blogspot

Finally there is this enormous four way split double LP put out through Immune Recordings that sees Expo 70 sparring with Portland’s cosmic synth paean Pulse Emitter, Oakland’s hazy space provocateurs Date Palms and Peaking Lights' Aaron Coyes' sunblissed offshoot Faceplant. Here Wright goes into more of a stoner riff mantra, and it proves to be a fun killer counterpoint. Wright is joined with a rhythm section which he has been touring with for the majority of this year, and it’s a dark yet electric combination. Seeing as I'm a real sucker for these kind of jams, I love this direction almost as much as Beguiled Entropy.