Locrian / Harpoon split on He Who Corrupts INC records

The image above hardly reproduces the embossed letter pressed sleeve, black ink on heavy black card stock. It's split in the middle on the reverse so you open both sides from the center, with both bands titles on either side of the cut, it's a really fitting heavy handmade object for these two ear splitters.
Unfamiliar with Harpoon I went to that side first which launches right in with tight speed grindcore...like I really know what that is...screamy evil vocals mixed loud, it's ridiculously complex and fast, could this be sampled and repeated? I doubt it, they are machinelike. But then, wait a minute, everything slows down a minute to work on the heavy side something like Pelican which makes the vocals come off even more evil...a lot of darkness, the faceless amputees/their wretched jubilee...that's an actual lyric. I won't be fucking with those guys anytime soon.
The Locrian side opens with a muted sliver of static, probably just the sound of the amps at 11 under the strain of the lines of pedals. Until a guitar heavily distorted and delayed breaks in. It's really epic, accessible even... melodic. They have a great vocal quality here, it's piled under tons of effects, that truly tortured feel, it's far back in an underground prison, echoing off the walls. It's a monstrosity of guitar noise, but really held back, deliberate...concentrated.
Andrew Sherer from Velnias is here heavily complicating the drums, but also holding back in all the right places. Even though this has been in the works for a while it sounds like it goes right along with their latest out in March, 'Territories', where they collaborated with a bunch of different noise/metal artists, hope that makes it to vinyl.
It gets right to the point, even at 33, they're compressing the epic landscape to the limit on this side.
I love the photos they've been including with all their releases, giant overgrown decayed factories, I love those places, I just want to get in there...at night. Completely abandoned. It's what I think Detroit must be like after all the fabricating companies all left. It's almost an alien landscape, you can't imagine what they were like when they functioned, it's like square footage porn for someone from Brooklyn. I would just go squat in that thing and build an ark...or get a generator and have Locrian play.

Get it from HeWhoCorruptsINC records, because sadly this is their last physical release. Haven't they heard? Vinyl is back!
I get it, this packaging, the puke swirl off green vinyl, the color insert, they aren't pulling any punches, this is so beautiful it probably emptied the accounts. This just is such a complete package, it's a loss for the object obsessed.

A well executed mash up of two of Chicago’s more notable enterprises of loudness – the long coming Locrian / Harpoon split 7” is finally complete. The vinyl portion of the release includes one song each by both bands. The accompanying digital card provides additional bonus material. This is Harpoon’s first release with a bass player. As well, Locrian collaborates with Andrew Sherer of Velnias. The release is limited to 300 copies on marble green vinyl with full color double sided insert and letter pressed cover. This is our final physical release which has been in the works for quite some time.

Locrian - interview -

Photo: Kelly Rix

André and Terence from the band Locrian played Public Assembly, July 5th as part of A Show No Mercy Pitchfork Metal curated show with Anal Cunt, Fuck the Facts, Gwynbleidd and Copremesis. We had been emailing back and forth about getting together for an interview after the show to talk for a minute, after they sent me a few of their singles months back. It was dark, plodding, really heavy.

There's always that little bit of doubt in the back of your mind when the music is so menacing that you could be meeting in alley with a couple of maniacs, but of course they ended up being really nice couple of super nice guys who have an insane amount of music knowledge, and they even passed up some karaoke to talk with me the day after the 4th of July.

7Inches: So did you guys come from a visual arts or more of a musical background?

Terence: It's kind of both, when we were younger we both played in bands. Both of us had a big interest in prog and metal when we were young and I think hardcore in the 90's was kind of like the one place you could maybe not be a guitar genius or have lots of money for good equipment and get away with it and play some kind of metal. But we went to school for really weird stuff. André has a masters in anthropology and I have an bachelors in religion and philosophy and an then I got an MFA. We met through a mutual friend going to school at the Art Institute (of Chicago). And he was like the only guy there who was not ironically into metal and hardcore.

7Inches: So you met in Chicago while going to school?

André: Yea I went to the University of Chicago.

7Inches: Did you start right out playing this experimental ambient metal or has it evolved?

Terence: That friend that I went to school with was in a band with André. I'm in a band with my wife, and we were looking for a cellist, Kelly (André's wife) plays the cello so we were talking to her and then André came and he plays a thousand instruments so we started the band as a 4 piece and then an opportunity arose. Andre and I always talked bout Hardcore and Heavy Metal, Brian Eno and Robert Fripp, all this stuff we really liked and we wanted to try something more aggressive then the quartet.

7Inches: So Locrian existed as a kind of string quartet in the beginning?

André: No, that was Unlucky Atlas, my old metal band was offered a show I couldn't do it. I was like 'I kind of want to do this show', I felt like I wanted to play music out more, I was finished with my grad school, so I asked Terence, 'You want to do an noise thing?' A week before I saw this band Number None play at the Empty Bottle and I was really impressed. They were like a drone duo and I thought we could do some noisier kind of stuff. We just didn't really think about it much and then we were like oh shit we gotta think of a name for this project and Kelly said 'Oh you should call it Locrian', so that was it, sounds good. So we played this show and we thought maybe people are going to hate this. Basically we got paid in these huge drinks, so we were both kind of wasted. We had like a cymbal that Terence brought and some people in the audience ended up playing it and that turned into our first recording 'Setting Yr. Jetta on fire' which actually turned out pretty well for only playing together for a week.

Terence: But then when we played with Bloodyminded for the first time, Mark Solotroff was always really encouraging, he kind of got it, what we were trying to do.

André: He used to play in this band, Intrinsic Action, which were a really seminal kind of early power electronics group, he used to live in NY for a while, he worked at Bleeker Bobs.

Terence: He has really broad taste, we played this show with him, cause I was a fan of Bloody Minded and what Mark was doing with his label... he was putting out like a lot of the stuff out of Michigan like Charlie Draheim and a lot of the Wolf Eyes guys solo projects. I saw the connection between the noise I was into and power electronics and all that stuff so we thought, 'Lets play with him', from there he's always put us on good shows and released our seven inch and just put out an LP for us. That's the 7" you reviewed actually. The Plague journal 7".

Photo:Lenny Gilmore

7Inches: You guys played at Lucky Chengs last night, the drag cabaret bar in the east village, how did that go?

Terence: It was awesome, we had a great time, it was a good turnout, interesting bill. Lussuria was like dark ambient, Sleep Museum is on the same label, BloodLust!, we were just excited to play with them, we asked to have them play and Robert was great. Sean from Martial Canterel came out.

André: Alan Dubin came out from Khanate he's a super nice dude.

Terence: It was great, really fun, really low key, crazy atmosphere.

André: People apparently wanted an encore...and we were like really?

Terence: We never had that before.

André: I don't think you want an encore. We played and then we were like oh shit...

Terence: It was good, we were going to do that set tonight but I'm happy we did the set we did.

André: We had like a more metal set, kind of like the second track on Drenched Lands, but then we were said 'Let's just do what we're doing now, maybe we'll get heckled.'

7Inches: I loved the visual aspect of the show, it was unexpected and definitely adds to the overwhelming sound having that haze from the smoke machines and candles everywhere.

Terence: Yea I don't think we're that interesting to look at, so you've got to obscure it somehow.

Photo: Lenny Gilmore

7Inches: So how did you end up on this bill?

Terence: We had a booking agent, she kind of started the conversation and we were just followed up.

André: Originally it was supposed to be with Gnaw, Alan Dubin from Khanate, his new band. We said 'Hey Alan we'd love to play this show', because I guess it was up to him. He liked it, but he didn't end up playing tonight unfortunately.

Terence: They ended up going on tour or something...

André: Brandon apparently has a bunch of friends that are my friends

Terence: He knows Peter Sotos and Philip Best from Consumer Electronics.

André: We went to the same college and he knows a lot of my friends and we apparently didn't know each other. Buffalo's really not that big for us to not know each other....

Terence: But he kind of had similar interests in metal and noise so he kind of knew where we were coming from and put together a fucking weird bill.

André: The same really dynamic bands...Similar to our Lucky Cheng’s show because really every group was different from each other.

7Inches: It's interesting to see all these bands together, exposing people to maybe some new stuff they wouldn't otherwise hear, including you guys, in the mix. What's your process for writing your material?

Terence: Playing live...the transitions, we know the sections, the four sections, so we know where the next movement is going to be, we don't know when...we kind of look at each other and we kind of feel, 'Alright he's moving into this other part and then I'll bring this down'. It's very intuitive, it can suck if we intuit incorrectly, or if we have weird equipment fuckups which happen quite a bit especially on my end.

7Inches: Yea, you guys have a lot of equipment piled around the stage.

Terence: I use a lot of analog stuff that loves to not work some days.

7Inches: Did I see a reel to reel?

Terence: Yea I use a reel to reel.

7Inches: What's on the tape?

Terence: It's some synth sounds but it has this nice tone that I can bring in and out and then adjust this other tone to make it sound like static or this weird tremelo and I'm running it thought this amp that kind of overdrives it. It's got this nice visceral quality.

André: It's got this nice warm tone that you can only get from analog.

Terence: And I use a four track so that has like 4 other sounds running.

7Inches: I think that's the great thing with that hands on analog approach is the performance part is better as opposed to the guy-with-a-laptop.

Terence: Yea, you have to be paying attention to what's happening, I mean obviously laptops can crap out and cause a lot of issues, but the analog stuff you have to be very sensitive. We've played a lot of shows where we show up and something doesn't work and we have to go and figure that out. Suddenly a tape doesn't work or a synth is not wanting to tune...

Photo: Lenny Gilmore

7Inches: So did you already have the tracks you were going to put on the Bloodlust single recorded? Did you record them specifically for that release because of the limitations in length with the format?

Terence: We had played it before live, it was something that we would talk about, we knew we had the Plague Journals side, and then I think the more we improvised the B-Side we used the studio more, I used like an oscillator I found there.

André: I used like a space echo which was this big analog tape delay. The first track we developed right before we played a show at the MCA in Chicago, it was a drone series that Terence organized because he was an artist in the 12x12 series and he did a video of Sunn O))). He had a drone series where Lichens who is Rob Lowe who's played in the 90 day men, and TV on the Radio collaborator, played. Bird Show played who are Town and Country, bunch of stuff. White Light played, our good friend Jeremy Lemos’ band.

Terence: He recorded the 7" actually, he's working for Sonic Youth right now, he does all their monitors I guess.

7Inches: I was wondering about the recording process, if you are involved with the mastering side? Where do you go after the basic track is recorded?

Terence: Most labels don't care how it gets done. I mean it's kind of on you, if you can do it yourself it's cool, you know if it sounds what they think is quality. We love working with Jeremy, we just actually collaborated with him cause when we recorded with him he also recorded Unlucky Atlas, we always feel like he's kind of a member of the band, he's pretty honest.

André: He'll tell you if something sucks.

Terence: Yea, which we really appreciate. And then he'll also be like why don't you try it through this speaker and this amp or try this pedal?

André: He has a lot of ideas.

Terence: We like that.

André: The next time we do a full length we'd love to do it with Jeremy, because he knows where we're coming from

7Inches: So do you guys have vinyl collections of your own?

Terence: I do

7Inches: Is that what led you to release this on the 7" format? I noticed you have cassettes..., all kinds of formats.

Terence: I think that there's just...If you know the hardcore background, punk scene you always bought vinyl. My dad gave me his record collection, so I have this crazy record collection. I love the 7" and LP. The artwork is beautiful, it should be, this engaging thing. And with vinyl you can do so much with the format, you can do colored vinyl, locked grooves...all this interesting stuff. I think in our day and age a CD is just how you transfer something to your computer, very few CD's are objects you engage with, you know spend time with. We try though, like with the Drenched Lands CD it's like an interesting object, it comes in this nice packaging. And we love the 3" too, it's very obsolete media.

André: You have to have this certain type of....you have to think about when you want to play it. Although I guess you can just rip it to your computer and put it on your Ipod. Every format has its own interesting peculiarities, like with the 7", we like that because you actually have to take it out, put that on the record player and put the needle down and then flip it over, it's only like 6 minutes long, so you have to engage with that to a certain extent. It makes whoever is listening to that feel less alienated from what we're playing...of course they're only 300 so...

7Inches: There's the limited idea of this artifact and for me also and that I have music ADD, I can only pay attention sometimes for one song at a time...I noticed the split with Katchmare sleeve is printed really nice, offset, embossed with metallic inks...did you have anything to do with that?

Terence: That was Nick who does Katchmare. “Plague Journal” was part of the series that Bloodlust does, it was a private 7" series...there actually was a shortage of white vinyl, so he stopped the series. I think he did one or two more after ours. It's great, it has Aaron Dilloway, Prurient, Charlie Draheim...

André: Red Rot, all these people we really respect.

7Inches: And you were a part of that series. That's great.

Terence: Yea we were really honored to be a part of it.

7Inches: You have more dates coming up?

Terence: Tomorrow's DC, Richmond is Tuesday.

André: We're playing a really eclectic set for that too, i think Geologist from Animal Collective is playing. Then Our Brother the Native and Religious Girls.

Terence: and Teething Veils, Greg's band, our friend. When we play DC we always play with this guy Greg Svitil, he has this band called the Antiques, Teething veils is his solo project is really tripped out, reverbed, slow acoustic guitars.

André: Really pretty. It's at the Velvet Lounge

Terence: Then we're in Richmond at Nara Sushi

André: they got this guy Wrnlrd to play, a rare appearance, he doesn't play out much at all. So we're excited about that.

Terence: Baltimore with The New flesh...really raw nasty rock, they're cool they run this label, they put out a solo tape of mine. I saw them in Chicago and they were phenomenal.

7Inches: What’s your solo project?

Terence: T. Hannum, then we play Philly. That's going to be interesting, We play with T.O.M.B., this black metal band called Woe, God Willing and Panther Modern, then we're in Pittsburg with Requiem, then Columbus, and that's where begin the rest of the tour with the Human Quena Orchestra.

André: They're from San Francisco, really dark...industrial, metallic with some kind of screaming

Terence: Bleak, it's heavy. They're kind of like old hardcore guys too, they were in this band Creation is Crucifiction, we're pretty excited. They're pretty left wing, with their politics. It's nice to have a band we can agree with on a lot of stuff. Then it's Dayton, OH with Envenomist.

André: And then we end it in Chicago at the Empty Bottle with Human Quena Orchestra,and then our friend Mark Solotroff from Bloodyminded, his brand new project called Anatomy of Habit, which we don't know what its going to sound like. Mark's actually singing instead of being crazy-shirts-off-screaming and scaring people and then its got two guys who were in his old band Animal Law, playing with one guy who plays drums; Dylan Posa, he was in the Flying Luttenbachers and Cheer Accident and this other guy who’s going to play metal percussion.

Terence: Blake, he does Vertonen, like a synth noise band.

André: Then the other guy is from Plague Bringer which is like a grind metal band. I don't think its going to sound like any of their projects it's going to be good.

Terence: Their old band sounded like Bodychoke, or like Swans, early swans, really slow plodding, heavy, intense, I love that stuff so I always excited to play with those guys.

7Inches: The lighting seems like an important element, how has that worked at different venues so far? You guys have your own smoke machine?

Terence: ...and candles and incense. Sometimes at a small venue it works really well because we can fill the space, no one can see us, we're all backlit.

André: I guess ideally, I don't know what we look like from the front but we were hoping to just be silhouettes.

Terence: We've only been doing that like a little while, before that we're just like two nerdy dudes with pedals. Then I saw this video of Neu! and I was like 'They have smoke machines! Sunn O))) doesn't own this shit!”

Photo: Scott Kaplan

They definitely don't...I'm so glad these guys got me into their particular drone experimental metal, they put on a great show, go catch them if they come around.

They mentioned a bunch of releases, LP's cassettes, solo projects, all of which can be found on their blog.

97 shiki on hewhocorrupts inc records

This came in a few weeks ago from 97-Shiki...I just saw Locrian at Public Assembly and happened to mention it and it turns out they know these guys and forwarded them my address...crazy, more about their show later. This mini Ep at 33 1/3 is packaged in a giant matchbook style heavy cardboard sleeve screen printed with lyric insert and digital download card, which is a welcome addition to avoid the work of digitizing it for the old ipod...thanks guys.

I have to say with this impressive packaging I was expecting some kind of conceptual experimental electronics or field recording, leave it to 97-Shiki to not only give you barely a frame of reference for this musically but then to put real thought into the object of the 7" itself, coming up with something completely off the beaten path of black and white xerox. If they put this kind of thought and craft into the sleeve, it has to be a token of things to come once you put the needle down.

The A-Side starts out with Brother...this is angular rock,
With the track 'Massachusetts' it's driven by the bass, which lets the guitar just interrupt changing up melodies, muting harmonics and creating truly weird rhythms out of distorted guitar. This is reminding me of an energetic Gang of Four....a hardcore Gang of Four, the front authoritative vocals. All the parts are working so separately, I don't know how this is working. This was my favorite of the single. It has all the skill and innovation of something like At the Drive in with Fugazi style abstract lyrics, open to all kinds of interpretation, especially in 'Disassemble', I could almost hear them dong this... today.
For having such disparate parts, the hardcore vocal style, a little spurt of guitar melody (or in this case I'd say repeated experiment) in separate speaker channels, it's really clean sounding, all the pieces are separated and just heavy enough but restrained. The brief outbursts, like guitar tourettes that are channelled into interlocked intricacies. I can't find a rhythm to grasp on to, it's pounding, but they just aren't ever happy with anything typical long enough to let it sink in for a few verses. Hardly a chord is played....it's an impressive truly original guitar style. They are testing hypotheses about song construction...and it's all adding up to a new intellectual hardcore sound.

Go get this, it's Locrian and 7inches approved from hewhocorrupts inc.



Locrian, as I mentioned were in town last night at the public assembly. We had been emailing back and forth about when they might be in town to meet and do an interview. I was so glad I caught up with these guys as they passed through and got a chance to talk with them out on the street. An interview will be coming shortly, but I just had to post these bad ass pictures, thanks to their fog machine and candles. It was great to catch them on this varied show with a bunch of other stuff I would have never been exposed to. the curtains opened (nice touch) into a cloud, Locrian spent most of their time in the middle of. There was nothing overdramatic about it, it was adding to the weirdness of having every sense taken over completely. There wasn't any room left for your own thoughts, you just sort of stand in awe of the experience. They were deafening, their huge sound vibrating every inch of the place. One long piece of improvised sound. I was shocked to see the amount of analog gear they had piled up on a table next to Terence, an old taoe machine, a 4-track. I love to see this physical manipulation of these sound machines, who knows what's coming from where, how the sounds are piling up, but it's this complete experience of watching sound being willed into existence.


Just really quickly as well, Darian from Edible Onion records just emailed me about a cassette preorder for a new project from Roger of Br'er, I covered a little while back.

The debut EP of The New Heaven and the New Earth, which is the songwriting project of Roger Martinez, who is also in Br'er, is available for preorder. It comes out July 7th.
We're releasing it in a run of 100 cassettes that are encased in spraypainted butterboard, and each case features cut-out "stained glass" windows made with tin-foil, tape, and magic marker.

Just briefly gave this a listen and someone who can compose with a complete orchestra is mindblowing. It's songwriting on an entirely different level. I just have no experience having to think about 20 different elements working their way in and out working with background chorus...this guy is a serious genius. It deserves this kind of attention to packaging, and why at the end of the day it isn't so exciting to play another CD.
Call my mind completely blown again today.

Music, please stop taking over my life, I can't get anything done.

Locrian / Katchmare split - self released

Locrian sent me their latest split single with Katchmare after reviewing their Plague Journal single a while back and these tracks are taking drone/experimental human (?) sounds to the brink. A kind of siren call to the experimental noise inspired.
The Locrian side, Drosscape, is the sound of hum cycles, rising and falling. Ungrounded electric hertz. This might be layered or just looped on top of itself, but a kind of hum of having a guitar line plugged into an overloaded amp is canceling itself out, and then whining back in sync. The sine waves of this hum gradually starts to cycle louder, overlaping, and breaking up. A low frequency my turntable clearly can't handle is introduced, peaking out past the rise and fall of buzzed tones. Then an amplified metallic echo crash breaks in, which sounds like a yell into a guitar pickup, and it's eerie as hell. This is one long horror movie scene I'm not finding my way out of.
A feedback sound which is pitch shifted down a few octaves is completely overpowering drowing everything else out. Half the fun of listening is trying to figure out where to even start creating something like this, I'm not even close and these descriptions are maybe some kind of beginning point, but it's generally a mystery, and I keep putting the needle back on at the beginning to try again.
All of the sounds from the very first hum are still here in the background seriously piling up, but slowly dying away in delay loop decay. The feedback becomes the primary instrument towards the end and is echoed to a wailing point. Washing in and out, delayed and terrifying. It's never overdone, they remain completely in control, the ear splitting is placed...played at just the right moment. I can hear the craftsmanship, it's really easy to just let that sound takeover completely.
Then it abruptly ends in the middle of a downward loop. I can't help but think that this can't be where they meant to end the track....the needle is running pretty close to the center and I wonder if that was the limit of sound they could fit on a 33rpm 7".
It's a happy accident though, jarring you back into silence and reflect for a second on what kind of hell Locrian just led you through.
This will test your turntable and any preconceptions of instrumental drone.
I really hope they make it to NY sometime and let me know...I won't forget my jackhammer headphones.

The Katchmare B side, a track called Scarab, is mechanical hum of a different form....something chugging away behind terrible insluation a few rooms away. It might be coming closer, because a really low cycling tone starts to rise and rumble the woofer. This isn't Music for Airports, it's music for immenent invasion.
It cuts out completely for a moment and comes back this time with an electricronic slant.
I have to think that this sound... this howling started out human, but how it's being processed is amazing...otherworldly. It must be gated to the point of all or nothing, fluttering in and out. Either entirely piercing or almost dead silent. It's a single uttered sound broken apart and reassembled into pure tone. Each frequency drawn out and replayed time after time, like the dying of robots. I have to think that mechanical buzz at the beginning started out in this place too probably, but Katchmare wasn't ready to give it away just yet. It was going to take every wavelength separted and mutated back to be be able to truly understand this. Well ...not to even understand it, just hear it in a completely new way.
Just when this processed breathy hollow tone becomes nearly deafening, not because of the volume, it cuts out. I'm left starting at the turntable wondering if it's really over, because I don't think I'll hear the same again.

It's not often two tracks like this will leave you permenantly changed. Both utilizing vocals in a truly unique way. Sound engineers take note, you could work your whole life for something like this.

The sleeve is heavy pressed embossed in foreboding bronze and gun metal grey.
Order straight from Locrain's blog:

Locrian/Katchmare split 7"
100 copies on mixed color vinyl

A. Locrian-Drosscape
B. Katchmare-Scarab

$6 PPD US
$10 PPD WORLD

Locrian 7" on Bloodlust records

The Locrian mode is a minor scale of some kind used in all kinds of metal and I'm not musically trained enough to know if any of this material is built on this half diminished scale, but I have a feeling the name is more than related to this structure and the ominous, maybe inherent unsettling sound of this chord progression.
Are there sounds that in any culture would be universally frightening? (Other than animal warnings...) Another post for another day I think.

The band Locrian is Andre Foisy and Terrence Hannum on guitar and synth filtered through tons of electronics, distortion, delay, sampled loops and definitely in this ominous, dark feel. I don't know if I have been taught to fear these noises through popular culture or not, but this is not what I would call joyful music in any sense. I think the sound of a jarring distorted sample repeated over and over is so unnatural...you're immediate reaction is repulsion.
Their press materials list Terrence as vocals, but these two tracks on their 'Plague Journal' are instrumentals as far as I can tell. It may be so manipulated that any sense of the human voice is completely destroyed, unrecognizable. I would be amazed if they actually got to that point here. But this isn't just a barrage of extreme noise, I know it sounds like that. These two tracks are very different sides of their experimentation that I would say exists somewhere in the metal-psyche world. One side more metal/nu-noise and the other more ambient/environmental.

The A side abruptly starts with a distorted guitar phrase, looped into infinity. The hitting of the string keeps changing like the Disintegration Loops, the decay of the sound combined with the one being played on top becomes almost percussive. A low distorted bass or kick, with a metallic edge. It even becomes something of a didgeridoo kind of sound, a bass doubled in on itself...and on itself.
It becomes layers on layers of quick little heavy phrases into infinity....somewhere on this chain is ultra echo at the point where literally the waves...the actual sound waves themselves are building on each other like the ocean and doubling up creating this deep low end whomp sound, like breaking the sound barrier.
It's the slow evolving track that wherever it ends up you don't remember how it got there exactly, it's devolved into quieter electronics and atonality. I can't tell exactly again what these sounds originated as...a far away brass note...mountains of hiss, feedback...a long drawn out siren.
But you can barely hear any trace of a guitar by the end.

B-Side lots of ethereal effects turning into a wind sound....there's definitely organic sounding elements, but I tend to think it's an electronic sound bent to the point of high pitch echo, delayed out to just be hiss? Or it is just tape hiss amplified and faded in and out.
This is the contemplative side with this finger tapping guitar note style, like I've been hearing about with Marnie Stern, but way slowed down, it's turned into something switched on and off. Towards the end I must be hearing something that started out as Terrance's vocals, far off in the distance....the best kind of ending the endless vinyl loop finishes this off...it's on pure white noise vinyl...

They are playing tonight at the Empty Bottle in Chicago...go check it out for yourself.

Available on Bloodlust records:

BloodLust! 089 Locrian "Plague Journal" 7-inch $8.00 USA/$10.00 Canada+Mexico/$12.00 Rest of World @ postpaid (Pressed in an edition of 300 copies; White vinyl; White labels with minimal black text; Unmarked white cardboard sleeves - sealed on three sides; Black and white insert; Locrian's first appearance on vinyl sees the duo of Andre Foisy and Terence Hannum distilling their specific take on deconstructed metal trance music down to just over a dozen minutes of finely balanced, passive/aggressive, shimmering psychedelic drone; Includes locked-groove on B-side; private series number seventeen)