Excellent mix from the Shelter Press imprint compiling selections from their current and future release catalog.
"It includes some titles from all our releases, starting with our very first one back in fall 2011 by Pete Swanson & Rene Hell. Also in no partical order two tracks from Shelter Press copilot Je Suis Le Petit Chevalier, and one by Locrian’s Terence Hannum picked in his debut LP who just came out a week ago!. Also a track from Jon Porras’ EP under his Vallens moniker, a minimal piano piece by Brian Pyle’s Ensemble Economique, and some new extracts from our recent split between two modular virtuosos Keith Fullerton Whitman & Floris Vanhoof. And a new extract from this book by Ben Vida we published last spring, which will be reissue on wax next november. Last but not least : 3 new exclusive titles from our next releases : first extract of Painted Caves’s debut LP (Evan Caminiti from Barn Owl), High Wolf’s new tape, and at the very end a first hint of french spectral singer Chicaloyoh."
BARN OWL// “VOID REDUX” LIVE (THRILL JOCKEY)
A new synth-laden addition to their desolate guitar roar. From the new album “V,” available next week. Video by Folk Hero Films. Pre-order now and receive a limited 40 minute bonus CD.
Given how prolific Barn Owl have been in the past, it’s surprisingly to learn that it’s been over 18 months since “Lost in the Glare,” their last proper full-length. In the interim Jon Porras and Evan Caminiti have issued a variety of solo albums, but the duo has also used that time to augment the sound palette of Barn Owl with electronics and synthesizers. Thankfully, the same blackened soot and scorched psychedelia are still prevalent, they just reach deeper timbres and more expansive textures.
Change is afoot immediately as “V” enters with “Void Redux,” which is a particularly apt title for an album opener that sees a subtle shift in Barn Owl’s dark sound. The track is quite minimal, with percussion setting a rhythm for undulating synthesizer streaks and and the duo’s sustained tube amp drones. It’s almost unassuming, but before long “V” rises to profound peaks and impressive intensity, especially the masterful recording of “Blood Echo.” Past styles and their contemporary additions are executed to devastating effect on the track as it lumbers, builds, and rises to fill in the gaps between blurred drone, bleak Americana, and roiling black metal.
Closer “The Opulent Decline” matches such intensity. One of the lengthiest recordings to grace a Barn Owl album, the track originated as a half hour improvisation that was edited down and distilled to 17 minutes that are cosmic in scope and immersive in execution. It also features the most brazen use of electronic frequencies, beginning with an intro of spectral synths that meet the duo’s more familiar charred guitar lines. The piece eventually coalesces into a swirling mass of feedback and roving synth textures while a thumping drum machine holds it all together during the stunning climax. It’s a definitive end to a bold new Barn Owl direction. – Ryan Potts, Experimedia
Painted Caves (Evan Caminiti)
Not Here Not There
Barn Owl has become a sprawling force over the last three years or so and thankfully show absolutely no sign of slowing down. Painted Caves is a new project from Evan Caminiti that traverses familiar aural terrain, but with enough new twists to keep you off the scent. Caminiti’s guitar work is always nothing short of impressive, but it’s not the sole driving force on “Not Here Not There.” Synthesizers are utilized expertly, squashed and stretched into various forms. Hazy drones are drenched with washed-out minor chord melodies that are just audible enough to leave their mark. Skeletal rhythms unexpectedly emerge from the sonic mass of grey, adding backbone to the liquid morass. I can never quite pinpoint just what it is about this cassette that sucks me in, but I imagine it is all to do with Caminiti’s ability to weave a consistent, always-moving narrative out of just a few specific parts. ”Not Here Not There” is the best kind of sonic manipulation and is an exciting turn for one of the most relentless artists around. I just hope this is a beginning to a new trail that will lead to all sorts of new and unexpected places. - Brad Rose
Absolutely stunning new full-length solo outing by Barn Owl guitarist Evan Caminiti. “Night Dust” finds Caminiti operating in a mode a bit more akin to his work with Lisa McGee as Higuma than when playing spectral, doom-laden drones alongside Jon Porras in the aforementioned Thrill Jockey duo. Throughout the album, hazy, distant sounding drones serve as a lush backdrop for Caminiti’s dusty chord shapes. However, despite the predominance of gorgeous guitar/tube amp sourced material, I’d be remiss not to mention the lengths Caminiti goes to on “Night Dust” to incorporate other elements into his sound. “A Memory or a Mirage” finds what sounds like pulsing synthesizers nestling around a degraded wash of guitar tones. Recorded entirely to 4 track cassette, this is a warm, analog sounding album through and through, with Caminiti making expert use of his chosen production medium. I’d urge even those listeners who might feel overly inundated with the output of Barn Owl-related releases not to miss this fantastic album that stands as a high point in Caminiti’s already storied discography. - Alex Cobb, Experimedia
As half of the scorched-desert duo, Barn Owl, Jon Porras has cultivated an impressive catalog of sprawling, rusted, drone-infused compositions. There’s a reason that Barn Owl are so highly regarded and Porras keeps those high standards with his latest solo opus, “Black Mesa,” for Thrill Jockey. The information included with the album says that is a ‘reflection on desolation.’ Sonically, this is exactly what it is. This is dark and lonely blues-ridden guitar music at its finest. Out of all the influences listed for this record, the Sandy Bull mention hits closest to him. Music like this spreads its wings underneath a gauzy spritual haze. If Porras is playing the part of the lost wanderer, the atmospheric embellishments and expansive, open-air feeling that pervades the record is his landscape. There is richness in the subtle details of “Black Mesa;” some chimes here or a handdrum there add life to the charred aural canvas. Throughout its entirety, “Black Mesa” is building massive funeral pyres aimed at burning up the darkest hour of the night. Once the embers glow, everything goes up in flames. Porras pours on the gasoline as the album closer, “Beyond the Veil,” stretches all the way to the dawn. This is one hell of a record. - Brad Rose, Experimedia