Ultralyd can be said to operate in a sonic landscape that has as much in common with modern contemporary music as wiith drone metal.
While their vinyl only release ”Renditions” on The Last Record Company label in 2009 and their contribution to our recent ”Twenty Centuries Of Stony Sleep” compilation can easily be described as belonging to the former, ”Inertiadrome” introduces a more rhythm based, rough edged sound.
What you get is an instrumental album of ensemble playing, practically free of soloing, largely driven by Olsen´s relentless drumming and Brandsdal´s monster heavy bass.
Hana and Møster´s unorthodox guitar and sax treatments are filling the gaps while a bleak and futuristic sounding production gives it a distict sense of doom.
2. Street Sex
3. Contaminated Man
4. Geodesic Portico
Entrance Records & Tapes
Release Date: 05/02/2021
What if Rimbaud met Roy Orbison, on acid in a room full of synthesizers, after a late night wander through the haunted streets of New Orleans? Is getting lost the only way to ever be found? At what point does the hero’s journey become a fool’s errand?
Nearly two decades into a lifer’s voyage of shapeshifting through shadowy realms of the American underground, Guy Blakeslee, poses these and other conundrums on his dramatic new album, Postcards From The Edge (Entrance Records).
Recorded in New Orleans at the house studio of Preservation Hall Jazz Band, with former Sonic Ranch engineer and producer, Enrique Tena Padilla (Oh Sees, Wand), and featuring appearances from singers Lael Neale, Hale May, Rachel Fannan, and drummer Derek James of The Entrance Band,
Postcards From The Edge is electrified by the spirit of sonic experimentation, and the fervent desire to chart a map into unknown territory. Across the record’s seven tracks, Blakeslee’s questing lyrics teem with stormy emotion, his plaintive voice finding succor in richly-textured melodies that soar over lushly-produced soundscapes, always on the verge of collapse.
Release Date: 04/12/2020
“Ginger gave me two instructions: “Loud guitars and loud crowd”….I didn’t have a choice in either as that’s what was captured during the recording” - Live album producer Dave Draper