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MATMOS

The incomparable duo, Matmos, have done it again! Their new album, Plastic Anniversary, was created using only plastic. Highlighting the crises of convenience, the Duo make music from our refuse. True to form, the band have assembled a promiscuous array of examples of this sturdy-yet-ersatz family of materials: Dominos, Styrofoam coolers, police riot shields, polyethylene waste containers, PVC panpipes, pinpricks of bubble wrap, pills, silicone gel breast implants and most horrifically synthetic human fat. Where did this idea come from? Drew Daniels and M.C, Schmidts own “plastic” anniversary as a couple.

Matmos glide from the tongue-in-cheek fun of “Breaking Bread” (literally smashing Bread LPs) to Cronenbergian body-horror of “Interior with Billiard Balls & Synthetic Fat.” The album is playful and poppy while conveying a very serious message and on the darker implications of ignoring the havoc we are imposing on the earth all for the sake of convienience

A super special limited edition set will come with a sculptural album, embedded with plastic bottles, that while is the actual album, is rendered viruatlly unplayable by the pastic floating within. This edition also includes the album on a exclusive multi color mashup vinyl, a t-shirt, and a bonus track, all exclusive to the box. All proceeds from this special edition will benefit The Ocean Cleanup.

TRACK LISTING

1. Breaking Bread
2. The Crying Pill
3. Interior With Billiard Balls & Synthetic Fat
4. Extending The Plastisphere To GJ237b
5. Silicone Gel Implant
6. Plastic Anniversary
7. Thermoplastic Riot Shield
8. Fanfare For Polyethylene Waste Containers
9. The Singing Tube
10. Collapse Of The Fourth Kingdom
11. Plastisphere

Matmos

Ultimate Care II

‘Ultimate Care II’ is the new album from renowned conceptual electronics duo Matmos (Drew Daniel and MC Schmidt).

Recorded in the basement studio of their home in Baltimore, the album is constructed entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine. Like its namesake, the album runs across its variations as a single, continuous thirty eight minute experience that starts with the grinding turn of the wash size selection wheel, and ends with the alert noise that signals that the wash is done. Between these audio-verité book-ends, we experience an exploded view of the machine, hearing it in normal operation but also as an object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed by the duo, with some occasional extra help from an ultra-local crew of guest stars (some of whom regularly do laundry chez Matmos).

Dan Deacon, Max Eilbacher (Horse Lords), Sam Haberman (Horse Lords), Jason Willett (Half Japanese) and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo’s samplers. The vocabulary of the Ultimate Care II, its rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps are parsed into an eclectic syntax of diverse musical genres. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically but remain fanatically centered upon their single, original sound source.

In addition to releasing a string of acclaimed albums over the past 20 years, Matmos have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall (while opening for Bjork) and John Cage’s personal collection of conch shells at Carnegie Hall.

Matmos have also collaborated and performed with Terry Riley, The Kronos Quartet, Antony Hegarty, William Basinski and Horse Lords.

Three videos will be serviced: one by Baltimore musician Max Eilbacher (Horse Lords, Needle Gun), one by infamous collage artist / plunderphonic cut-up wizard Vicki Bennett (aka People Like Us) and one by Ed Apodaca of San Francisco motion graphics firm L-inc, who created the ‘Very Large Green Triangles’ video for Matmos’ last album.

TRACK LISTING

Ultimate Care II

Matmos

The Ganzfeld EP

Matmos deliver their first material for Thrill Jockey in the form of ‘The Ganzfeld EP’, which is nearly 30 minutes in length. A new full length album, ‘The Marriage Of True Minds’, is to follow in 2013.

The EP and the album have the same conceptual basis: Telepathy. ‘The Ganzfeld EP’ features two new Matmos tracks that are explicitly based upon psychic session material, and a throbbing minimal techno remix by RRose of the Matmos song ‘You’. Careening from widescreen electronic pop to eerie choral music, the results are eclectic, fun, and disorienting in equal measure. Matmos are one of the most prominent experimental electronic artists of the last decade. Their seven albums have been some of the most significant and acclaimed in the genre, and their high profile collaborations and shows with artists like Bjork and Kronos Quartet have given them definite exposure that extends far beyond the world of heady electronic music.

“Matmos are an innovative electronica duo... playing their tactile and thunderously crunchy work” - The New York Times

“Matmos have always heard symphonies in life’s smallest details, sampling things like thawing streams and liposuction vacuums and building busy pop tapestries out of them” – Pitchfork

TRACK LISTING

Very Large Green Triangles (Edit)
You (Rrose Mix)
Just Waves

Matmos

The Rose Has Teeth In The Mouth Of A Beast

    The new record by San Francisco duo Matmos. It is a series of 'sound portraits' of a pantheon of people that they admire; a musical attempt at biography. "The Rose Has Teeth In The Mouth Of A Beast" is loose in some places and very literal in others; taken as a suite of stylistically disparate songs, you get a kind of fractured family album, a historical pageant. It is at once Matmos' most melodic and most conceptual record. Matmos read the biographies and re-enacted events from their subjects' lives, making songs out of the sounds of the re-enactments. They gathered objects that were important to these people, made noises with them, and built melodies out of the noises, sometimes with just a tight focus on one detail and sometimes they revisit one event from their life. Sometimes they depict their subject abstractly. French horns, tuba, strings, harp, darbuka, voice, guitar, drums and synths are chopped into tricky rhythmic patterns and melodic motifs. It's a funkier, funnier affair than their last album, "The Civil War", but also a darker one.


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