However, the more kraut / kosmische flavoured arm to PY bounces right back with a beauty here. The brand new LP from Brooklyn duo Long Distance Poison, which follows a slew of releases on Hausu Mountain, Oxtail Recordings and previously Ecstatic Peace, not to mention the sold out “Human Program” LP right here on DD in 2015.
The record- their third- was partly conceived during their residency at The Clocktower Gallery at Pioneer Works, in the words of the bands’ Nathan Cearley as “a spectral experiment in the play between compositional zones of apparent stability and zones of undefined emptiness. Using random, pseudo-random, intuitive and generative processes, the record burns within the paradox of a song that isn’t a song, a creature of chaos camouflaged in a simulacra of rhythm and melody and structure.
“Astro Topoi” opens with the long form work “Ausunya,” a shifting space that slowly mutates from layering drones to spectral howls to heavy waters and finally rhythmic minimalisms. Side B begins with the raw drones of “Liminal Diamond” giving way to a weirdo blues scape that transform into blissful and shimmering horizons before reducing down to essential funk. The keystone and third song, “Blue Umbra,” plays with different forms of random in order to create simulated forms of pop that inevitably come undone before imploding into Krauty, medieval modalities.
“Astro Topoi” is cosmic music without any preconceived notion as to what the cosmos is, or whether or not it even exists. Space music without the idea of space. Each song is the expression of the unpredictable play of Nathan Cearley’s modular synthesizers, Erica Bradbury’s analog keyboards, and a variety of broken old analog equipment including an old Arp Omni, Moog Satellite, Opus 3 and ‘Mini”.
A pressing of 300 and destined for a speedy sell out….