Indoctrination of Emptiness

I worked sporadically over the last 7 months on a recording project with Voidcraeft. The tracks which I wrote and recorded parts for are “The Oceans of Alantropia”, “Humiliation of Reason and Distortion of Soul”, “Rescind”, “The River”, “Swale”, “A Clearing”, and “A Prison”.

With the exception of “A Clearing”, the lyrics on each of the tracks combines exactly two narrative threads. It couples a dream that I had, with something I experienced during a wakeful state of consciousness.

Each track is comprised of two guitar parts, bass guitar, drums, and (with the exception of “The River” and “A Prison”) vocals. I tried to preserve impulses during the writing process, and the recording was largely done in single takes. After recording the guitar and bass takes, I sent them along with lyrics to Voidcraeft. I purposely left out instructions for how the drums and vocals were to be performed.

For the ambient sections, I revisited the methods used in producing Peristalith’s Drones II.

Voidcraeft - Indoctrination of Emptiness

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A Rabbit Forest

This was released a few months ago via Weakie Discs on single-sided cassette in Poland. The label has disappeared since then, so I thought I would re-release it myself.

As usual, I try to focus on analog audio sources for this project. I used the same cassette deck configuration from Drones II, with an electric guitar and microphones. The guitar is prepared in various ways, adding a third bridge, and using just intonation tunings as well as 19 equal temperament. On the track “Sleep” I drive the strings with an electric shaving razor, and on all other tracks I use a violin bow.

For the artwork, I commissioned a friend of mine, Nik Rye.

Peristalith - A Rabbit Forest

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Drones II

Drones II follows my experimentation with cassette tapes. I used 3 cassette decks, and modified them in different ways. I disabled the erase heads, added controls to distort the motor speed controller, and made a foot switch from a sewing machine pedal. I created some looping cassettes by hand, each a few seconds long. Some of the tape I used was old or damaged. Audio sources include samples from Drones I as well as other things I had recorded in the past.

The cover art of Drones II is a photo I took of one of the repurposed cassettes used in producing the first track.

Peristalith - Drones II

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Drones I

My initial purpose for creating drone music was somewhat utilitarian. I was searching for beatless walls of sound to use in meditation, and to help retain focus while studying. I ended up creating some partially generative experiments, each of which were around 60 minutes long. They mostly consisted of slow arpeggiations and single chords, with various oscillating effects.

The track “F m 7” is an excerpt of one of these experiments. Parts of the chord were played randomly across 4 tracks. The samples were then slowed down, and run through oscillating high and low pass filters.

Peristalith - Drones I

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