... on sale for only ::
new to stock as of
may 7th, 2012
|wholly other (usa) #wo 16 lp|
spiderwebs “brighton beach” long playing record
- fossilized whispers
- cyclone skyline
|april 2012 release ; ... third album from the duo of sandy ewen & charalambides tom carter, their first since a pair of releases back in 2006 for music fellowship & collective jyrk ...|
... in another time (the mid-90s) no one would have batted an eyelash as such an exquisite blend of noise guitar shrapnelry & more lyrical forms ... but considering the drought were in at the moment w/r/t to actual, interesting electric guitar music (no ... do not plug that hondo les paul clone into your infinite echo box please for the love of god) this sounds like a million bucks, showcasing not just sandy & toms respective adeptnesses at channeling their raw amplified wood blocks into excoriating electronic noise machines, but their individualized strategies in note-choice(s) & general blues-lineage phrasing & feel ...
excellent record ; comes in a hand-screened sleeve (colors vary from the shown milky blue to a more volcanic red) along with a photo insert (detail below) & one with credits & whatnot (ditto) ... highly recommended !!!
|wholly other press release...|
wholly other is excited to announce our first lp since 2008:
spiderwebs brighton beach.
spiderwebs is the duo of tom carter (charalambides, etc.) and houston improvising guitarist sandy ewen, whose growing body of work includes a trio album with weasel walter & damon smith, several albums with rock group weird weeds, and collaborations with pauline oliveros, tatsuya nakatani, jaap blonk, annette krebs, bhob rainey, sabir mateen, j.d. emmanuel, and many others.
starting from the sparse and sometimes pastoral base of spiderwebs two previous releases strands formerly braided (music fellowship) and away away (collective jyrk), brighton beach constructs towers of fuzz, electronics, and naked scrape from which the duo launch deep into the inarticulate heart of sonic maximalism.
since spiderwebs' 2003 inception, carter's guitar playing has traveled a long, strange road from his spacious improvisations with heather leigh-era charalambides to the immersive pyrotechnics of his current solo playbook. ewens mangled percussive explosions, high-harmonic shrieks, and bailey-esque realtime stereo panning echo the aesthetic terrorism of electric donald miller, and provide a perfect foil to carters damaged looping psychedelia. both push their sound to improbable extremes to launch spiderwebs into the upper realms of higher-key incandescence.
edition of 255 hand-numbered & hand-titled copies with 2-color silkscreen covers and photo / text inserts.