AXOLOTL — Way Blank
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"All the forces of nature are alive and breathing again in AXOLOTL’s second release from Psych-O-Path Records. On, Way Blank, KARL BAUER recreates and builds on the organic and meditative sonic themes he and WILLIAM SABISTON introduced on their self-titled debut album in 2004. Through arrangements and tones drawn from 1960s minimalism, post-techno ambient electronics, Asian and African field recordings and Japanese psychedelia, and drawing from the cut-and-paste sensibility of the Sun City Girls, Way Blank manifests itself as a journey of the human body and experienced by the human body. The album differs from their self-titled debut in that a narrative arises from within the pervasive environmental and bodily atmosphere created through drones and static fields of sounds that has come to characterize Axolotl's music." [press release]
"Following up the Chemical Theater 12", Axolotly continues on the road toward a fuzzier dreamier place, more Gas and M83 and Tim Hecker than Yellow Swans and Wolf Eyes. Everything is soft and fuzzy and bathed in a warm whirring glow. The opener "Penuma" sounds like it could have been plucked right off one of the Pop Ambient collections. Buried vocals, drifting melodic murk, all wrapped in thick slow shifting layers of fuzzy glistening sonic gauze. The second track is similarly murk and indistinct, but manages to build abstract rhythms out of crumbling distorted sonic fragments, a rumbling, creaking, whirring soundscape that builds into a massive wall of pitch shifting fuzz. Pretty glorious sounding actually. Massive and dramatic and so dreamy. The rest of the tracks are all variations on the same glorious theme, blurry indistinct smears of foggy soft focus sound, buried melodies and distant sonic shadows, everything whirling and swirling, a cloudy ambient abstract drift through a warbly world of warm colors. A gorgeous new direction for Axolotl, one we definitely hope he'll continue to explore, joining his new sonic brethren, Gas, Tim Hecker, Fennesz, Basinski, et al., as they chart meandering dreamlike journeys into unknown worlds of sound." [Aquarius Records]
"Following up the Chemical Theater 12", Axolotly continues on the road toward a fuzzier dreamier place, more Gas and M83 and Tim Hecker than Yellow Swans and Wolf Eyes. Everything is soft and fuzzy and bathed in a warm whirring glow. The opener "Penuma" sounds like it could have been plucked right off one of the Pop Ambient collections. Buried vocals, drifting melodic murk, all wrapped in thick slow shifting layers of fuzzy glistening sonic gauze. The second track is similarly murk and indistinct, but manages to build abstract rhythms out of crumbling distorted sonic fragments, a rumbling, creaking, whirring soundscape that builds into a massive wall of pitch shifting fuzz. Pretty glorious sounding actually. Massive and dramatic and so dreamy. The rest of the tracks are all variations on the same glorious theme, blurry indistinct smears of foggy soft focus sound, buried melodies and distant sonic shadows, everything whirling and swirling, a cloudy ambient abstract drift through a warbly world of warm colors. A gorgeous new direction for Axolotl, one we definitely hope he'll continue to explore, joining his new sonic brethren, Gas, Tim Hecker, Fennesz, Basinski, et al., as they chart meandering dreamlike journeys into unknown worlds of sound." [Aquarius Records]