people ask me why i got a vomir tattoo.
the release that started music for downers was my split tape with vomir. i worked up the confidence one day to take a shot in the dark and ask him if he was interested in doing a split with my project that hadn’t even really started yet. he was enthusiastic to do it and highly encouraged me to start my own label. now, i know vomir does a lot of splits, and mine with him is just another one thrown on the pile, but me reaching out and him responded gave me the inspiration to continue to do that, to network further, and pursue music for downers, the bringer of everything, and all of my artistic endeavors. it taught me that it never hurts to ask, and that the only thing holding me back from accomplishing the things i want is not trying, not taking shots in the dark, and standing back from potential failures.
so now i’ll have to explain for the rest of my life that i got a tattoo dedicated to a guy who makes walls of static for music, but there’s much more to it than that.
awful lot of neo nazis following us here.
(casually posts about hnw even though most people despise it)
fuck the police
what the fuck
this is the scariest shit i’ve ever seen in my life
This is so cool. Eat Otomo Yoshihide’s heart out.
I’m used to associating this sort of heavy creepy distortion type audio as being achieved by internal studio mixing. Picking sections, warping them, reversing, repeating, all that sort of thing done with the board tools and programming suites. I didn’t stop to think that the same sort of effects could be achieved PHYSICALLY by fucking with the playback tools and the storage mediums themelves. It’s incredibly clever, especially when they introduce the cut-apart and reconstructed vinyl platters, it becomes the audio equivalent of cut-paste collaging or magnetic poetry. It takes something as ethereal and insubstantial as music, and makes it as tangible as sculpture.