Rather than describe what this sounds like (a futile task), I will describe how it makes me feel. First it is much like white noise, blocking the world around me. It's just me and whatever I happen to be giving my attention to with no distractions or external worries. Then it is energizing and uplifting. I have more focus and energy. These soundscapes get me in the zone to help me concentrate on whatever I'm doing, whether it be washing dishes or scrolling Facebook. And it sounds damn cool too.
Favorite track: Gattertor.
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Side A - amplified drum skin, brass pipes, violin, answering machine & synthesizer recorded at Gencave, New York City 1989, mixed at Arcane Device Studio NYC 1990, — later performed at Gateway Theater, NYC August 26, 1989 as part of the Festival of The Swamps (recording was available via Audiofile Tapes NYC).
Side B - processed electronics, violin, voice with additional live recordings made outside the window of D. Myers during mixdown, recorded in the Gencave NYC 1989, mixed at Arcane Device Studio NYC 1990.
Originally issued in 1990 by Direction Music
Special thanks to David Myers and Peter Harrison
Cover artwork by Warren W. Morris
Review by Frans de Waard, Vital Weekly 1220
"I am not entirely sure, but I don't think I reviewed 'Endogeny' when it first came out on Direction Music in 1990. Hearing the music I am not even sure I heard it, even when being in contact with the label at that time. I surely heard Gen Ken Montgomery's music by then and was always fascinated by that, his connection to Conrad Schnitzler and his Generator space in New York, which was a venue doubling as a shop (or vice versa) for weird music.
The pieces here are for various instruments that were mixed. 'Gattertor' on the first side has "amplified drum skin, brass pipes, violin, answering machine & synthesizer" and which was played in concert and later mixed. It has all the markings on Gen Ken Montgomery, using mechanical sounds, tape-loops and synthesizer to provide a more ongoing mix of sounds, set against the more impromptu playing of the violin or voice treatments. The piece is divided into sections where one instrument is the dominant sounds, be it bell sounds in the beginning, scraping the violin, the machines and the synthesizer drone towards the end.
'Father Demo Swears' on the other side is a recording of "processed electronics, violin, voice with additional live recordings made outside the window of D. Myers during mix down" and is a more continuous action of scraping the violin in front of the open window while in the background various degrees of sound effects are applied, mostly delay. This is a form of direct music that shows the influence of Conrad Schnitzler, I think. This is unconventional music, certain brutality in playing the instruments and right at the moment, direct action. A nice revived document, hopefully, to be followed by more of that."
Review by Jacob An Kittenplan, Cassette Gods
"A true Deep Listening masterpiece! Organic-mechanical vs modular synthesis, brilliant blends of electro-acoustic massage, musique concréte cycles, harvested transmissions from other realms, & abused instrumental interplay. Meandering delay. All morphing frequently and with absolutely unwavering tonal cohesiveness. Restrainedly flirts with harsh noise wall musculature without ever needing to fully lay down that card. All this cut to tape three-plus decades ago and resurrected for your pleasures-in-discombobulation. Stellar J-Card at seals the deal!"
I cannot praise this album enough. This album is absolutely terrifying! The many starts and stops creates this very h settling tension. Each start expands on the stopper idea previously. It’s like the music equivalent of walking through thick fog while passing out multiple times throughout trying to find a place to orientate yourself. There may or may not be something sinister in that fog, but you don’t want to stick around to find out. Bought the vinyl so I summon the fog demons through spe showhornwithteeth