Max Eilbacher's "Subtle Scatter" and Vapor Gourd's "Incision Objects" Out Now!

Well we've lied dormant for quite sometime over here in the cloudy city that constitutes the Fogged Headquarters. What can we say, no jams of honorable release? Well, we wish, but the truth is jams have been raining down from all directions and we were only able to grasp two in our mouth as the torrential rain whipped past. The two we just so happened to be able to hold onto are powerful and bold examples of the intersection of the popular, academic, and underground histories of electronic music manifesting them now in the current era.

check 'em out, and try to catch as much as they spill by you, they move fast kids, c'mon!

Vapor Gourds-Incision Objects

Vapor Gourds is the ongoing project of Western Massachusetts based percussionist, DJ, and producer Jake Meginsky. I blew it, I blew it, I gotta check my head as the honorable Beasties say, I gave away too much. Next I'll be typing some drivel about he studied with Milford Graves, plays prepared tympani, has remixed Body/Head and has collaborated with every out-there musician type New England has to, I love that one sided Nmperign collaboration LP, that's a good one. There I go again, mystique is the game, shape shifting, keeping the listener guessing, but, then again, you're not a listener, you're a potential listener, and a probable reader. Vapor Gourds "Incision Objects" likes to play with this mystery and the line you, probable reader, play between reading and listening. Leaning on conventions and musical ideas --beats, rhythms, sounds, samples-- and then stripping them down to non-essential and unused parts Megisnky crafts bare bones head-nodding remix ready, but fully realized, compositions. Not unlike killing a buffalo to methodically dissect its' body and end up only eating the tuchas, Meginsky's music as Vapor Gourds, displays an in depth knowledge of the cultural, rhythmic, and production elements of dance music but realizes it's all about the bottom end, bottom line? With the interplay of your expectations and the skill honed through making percussion music in every damn genre percussion music is welcome or not, Vapor Gourd's "Incision Objects" marks itself as a confusing mysterious shapeshifter of a record, one that can move your tuchas, you buffalo, so don't buffalo and grip this! Art by Bill Nace, to boot!

Max Eilbacher--Subtle Scatter

There are records to be chomped, jammed, ripped, even, blasted, but Derek Bailey wondered if there wasn't something less to listening. The attack guitar god wondered if listeners stopped doing the dishes when they put on a record, how could that be, did they just sit and stare? One's gotta keep the oculars occupied, tripped out record cover to look at, I guess. A music video seems to do quite nicely. Max Eilbacher makes tons of videos, he'll probably make a video for this release. Eilbacher also seems to be quite down with just sitting and starring though, maybe he doesn't have to do dishes because he has the visual in his mind's eye. Maybe the scatter is only subtle because it bunches its' individual pieces so closely together, so that the aforementioned "scatter" refracts and expands so fast, that it creates a vast visual array of sound, de-connecting and connecting with the listener as each surprising decision unfolds into the next, from computer sequences, to modular synth flappery, to deconstructed processed samples. The music itself is staring music, we get that, but why? What makes one record dish washer worthy and another so leveling that you dip into your own little world and stare at your receiver hoping it could explain what you're seeing and hearing, but it can't and neither can Max Eilbacher. A music video for the sounds would probably be helpful, but the imagination and lack of dishes in your hand are your best bet. Art by Eilbacher and Kodi Fabricant. Catch Max in Horse Lords, Matmos, and formerly in Teeth Mountain and Needle Gun, dude STAYS busy, his previous release is on Spectrum Spools, to boot!

NEW VIDEO By White Limo's Own Jess Goddard With Some Source Material Provided By White Limo's Own Great Josh Vrysen

    White Limo is Josh Vrysen, Jess Goddard and Chris Cooper.

Fogged Records Has Launched

"Record Label To The Stars. ElecTRONIK music for the dumb age. White Limo-WhoMoHow out now!"

Hello All,

      Some of you I know, some of you I'm meeting for the first time and I just know you traffic in cool and/or slash good records. So here's the pitch: 

First the regular stuff that fits ohh so nice on websites and one sheets:

White Limo or White Limousine Impatient Truck Plus Special Guest is an electronic trio featuring Chris Cooper of Fat Worm Of Error, The BSC, and Anghst Hase Pfeffer Nase, Jess Goddard of Fat Worm Of Error and Schurt Kwitters, and Josh Vrysen of Tumble Cat Poof Poofey Poof. The group came together around 2008 in Western Massachusetts with the interest of creating some cold devilish techno music after venturing in the realm of noise rock, improv, EAI, performance and noise for over a decade each. Almost five years later their first record WhoMohW has just dropped as the first release on the brand new Fogged Records.

Second my weird/dumb/not-acting-in-my-own-or-the-band's-best-interest description of the record

Well I put out a record in the overtime year non-Quezcoatled year 2013  from three old timers using 80s and 90s gear, clunky, raw, and unattractive looking stuff. But then that's this record, aint it? Clunky, raw, junk sounds and a lot of space to let them clunk through the mix. The mix is the mix, bass is bass, and treble is treble. Let some curdling tape warp loop mutate into a little deep pulse to nod out to. Wait, something else happened now some blurry synth plop is making a little lead line. It's a record that moves a lot, but I would never call it "busy", again, there's space. The album repeats it's points. I sort of got what was going on during the first listen, but there is something oh so rewarding about watching the record grow in your own mind and spread out. Then I'm back to the overtime year. I mean why the fuck release  an expensive ass piece of wax in 2013? Why print up 500 of them when you know that's going to be next to impossible to sell? Well, cuz I believe in the record, duh. I mean it's of 2013, well not really. It's more of stuff past 2012. It's music for Now and Later, a candy that doesn't taste good. It's a singular record that has got some steady genre signifiers, it aint Outsider Music, it aint stumbled upon genius music, it's competent, odd, singular music by experienced improvisers, song writers, and amazing listeners. I got the money shot for ya'll, "techno", "improvisation," "psychedelic", and those all do it justice, don't get it twisted for one moment. There are even bands I could name Pan Sonic comes to mind fast. Ian Fraser said The League Of Automatic Music Composers, I don't hear it as much, but he is one hell of a programer and musician, so why not. Ohh damn, I'm rambling again, to the people I want to buy this thing. Well, what can you say about a record you are incredibly enamored with and love that you have the honor of releasing....Well, first off that I mean what I just said, not saying it because I dropped the thing. Second thing I can say is that this is a difficult and exciting record that doesn't hind behind softness or loudness, dynamics improvisation outside the idiomatic improvisation world. Wow, a lot.

White Limo: WhoMohW: