Aleister Williams AKA SKGB has a new incarnation, Y = E ^ X. With Black Box in hand, he mauls the blips, mashes the glitch, and triggers his electro funk light to full blast. Epoch 5 and 6 are represented in two flavors; there’s the euphoria, the utopia of glitchin’ and synthin’. Then things get a bit violent as you get to the flip side. Dystopia is the hydrogen bomb, taking the previous two tracks and nailing them to the noise wall.
Either download this album digitally or indulge in the analogue side; Epochs 5 & 6 is available in Cassette format in a very limited quantity direct from the artist himself.
“With minds linked through the technology embedded in our hands, we stride towards the singularity without fear.”
It all started with a hangover. Three hours of sleep and three hours of sitting in the shower, then behind the wheel of our Club Wagon 150 Chateau. The drive went quickly, with a one stop off at Stuckey’s gas and a second at Whataburger for breakfast and cartoon porn.
We arrived at New Orleans and took a picture at an abandoned castle-house for the archives, then made our way around the industrial canal to find our venue, a rustic french-colonial punk mansion with clanging static emanating from surrounding alleys. We parked a block away and traipsed back, watching the top of a cruise liner meander past the neighborhood and a group of high-class, armor-clad crusties unloading from a Hyundai, finally entering the backyard of 609 Lesseps St. There we were greeted by a Michael Jackson impersonator going through the motions of Thriller on the main (…actually, the only…) stage.
Further into the miasma there were two more stages on opposite sides of the yard, one being the famed Ray Bong’s “No Respect Zone” and the other being shared buy a grizzled guitar maniac and a wall of modular synths / combo amps blasting a haphazard homage to Atari Teenage Riot; complementary hand pipe huffing provided by the stewardess. We wrestled with the confusing noise while trying to locate the sign-up list. When we finally found someone who had some bearing on what was happening we were informed that all the slots had been filled… so we cracked into our beer from the night before and settled into the atmosphere of intoxicated self-love / destruction.
It took an hour of contemplation (slow-sippin’ and rippin’ through the crowd) and we settled on unloading our gear into the yard, adjacent to the noise-dance collage-ers. Mike and I were sharing amplifiers so we would play back to back, and we agreed that I should be the first to play… so I cracked open another tallboy and drew forth my bass (because I didn’t want to write my own review I asked Mike to provide the next paragraph).
“The sun made it’s mark, and my rig was set. “It’s time to swing the bat”… That phrase echoed in my mind as I throttled my Ric, letting loose a jarring rhythm of sub bass. A tone set forth that can only be described as swampification. I wanted to see the ground bleed. Hoisting my rock maple high, I set in motion the feed back. Glorious low-end filled the ambiance. This rig is my woman, this bass is my phallus; I am Zeus, God of Lighting and Swan-Fucking. I am the Demon. By the time I had finished, I had dug my own grave with the heaviness of the doom. ”
Holy shit Mike, Really?
After my mess was finished I rushed to pack up my things while Mike, in his aviator sunglasses, took my place in the dirt. He set up a table and chair which we’d found derelict in the yard and began setting up his equipment on them; a bottle of alcohol, antibacterial soap, a jar of black ink, paper towels and other sundries. He then unveiled his arsenal, a tattoo gun strapped with two contact mic’s and a pedalboard loaded mostly with distortion pedals. After a few minutes of sanitizing he chugged a bottle of coke, stepped on his Big Muff, and fired up his gun.
The physical presence was unignorable, people from all sides of the festival turned in confusion to see a man hunched over clutching his calf with an unbearable furnace of sound emanating from behind him. He worked diligently, only stopping occasionally to step on another pedal. The noise was unyielding. The noise-dance group which was still performing next to him cast dour glances for having been drowned out by his impenetrable wall. It ended after only 16 minutes, but it genuinely felt like a lifetime. He never removed his sunglasses.
Once I was able to blink away the glazing my eyes that had developed from Mike’s set, I turned around to see the tail-end of the performance by Once Dead Flesh, a duo from Austin, Tx. Of the two people onstage, the one in red with a head full of dreads who seemed to be fellating a microphone while simultaneously fucking a combo amp in a low crouch. The other, a bearded punk reminiscent of an anarcho ZZ Top cover band, was hunched over a mixer and a mess of pedals, focused on garnering some esoteric white-noise perfection. What we saw of their set was particularly impressive.
The rest of the day went on as it had before, constant noise and a continually more engrossing crowd. One I found worth noting included a duo of a mad scientist clad in a white lab coat complemented by a robot in full chrome getup, invoking noise by jerking her body.
Another would be the group called Noisician Coalition, a marching band shrouded in red and black, utilizing megaphones and handmade trash can based instruments.
As the sun made its way down Architeuthis Dux played one of the most impressive sets of the day. Another two piece from Austin, their sounds were as aggressive as you’d expect from a noise outfit but… the performance was terrifying. Both members of the band kneeled over their equipment, twirling knobs and pressing switches calmly, and then the more dynamic of the duo would launch himself into the air to impose violence unto the crowd. At one point he decimated a microphone, and an instant later he threw himself off of the stage and into an onlooker (the dreaklocked ampfucker from before), grabbing him in a chokehold and throwing him to the dirt floor. He then would return to his pedals on the stage and the man with dreads came back and relight his cigarette. Their whole set was nerve-wracking, an anxious ordeal, and probably the most powerful performance to take place that night.
(I really wish I could have gotten a picture of the violence, but it all happened too fast) Afterward the festival eased toward closing. The dance kids finally packed up and the No Respect Zone begrudgingly halted. The few remaining people left gathered around the main stage to watch the few remaining performers, the last of which being Ipp (Fountainpen).
The length of the day had worn on everyone, both performers and audience members, and by the beginning of Ipp’s set there was a profound drought in the population; but toward the center of his performance he found his stride and kept pace. Blending his guitar with an answering machine, he interwove his power chord melody with a monologue of an anonymous woman lamenting the mental state of her mother whom she’d had committed to a mental home- all culminating with an eventual shroud of white noise centered on a D-chord. After Ipp had resolved himself, we packed up and shipped out; stopping once at a Waffle House for food (our waitress was unfazed when Mike lifted his leg to show off his new tattoo). Once again, broken only by naps on the mattress we had brought with us, we arrived home exhausted- but in our minds triumphant. The noise shall never stop, and in our hearts it never will.
On behalf of C’NC I would like to thank Michael Patrick Welsh and the noise community of New Orleans for showing us one of the loudest, exceedingly warm-welcoming, and definitely the most interesting of times we’ve had as artists and human beings. Oh, and thanks to Chauncey for helping me realize that goats can be pretty cute.
Amplifier Worshiper Drops Their Heavy Load
Long awaited, much anticipated, here it is, the Heavy Load to end all Heavy Loads! Created on a mountain top by the thunder demons Jordan Fore and Michael Amason after a harrowing drive through the backwoods of the New England cannibal country side. Prepare to touch yourself in all the wrong places!
Philospiders By Philospiders, Starring: Philospiders
We are very proud to announce the release of Philospiders first album! and not only that, but this release constitutes our 50th musical expulsion! A quick thank you to all of our artists, label-mates, affiliates, and most importantly the listeners. Without you, we would be nothing.
Philospiders is the joining of two Tallahassee/WVFS heavyweights, Adam Devlin and Jordan Connors. We caught up with the two of them and went through the motions of getting to know this gruesome noise twosome.
CNC: So, let’s go through the rundown: Where were you born? What was your younger life like?
P: We grew up in Central Florida. Adam spent his adolescence playing
drums and Jordan spent it not making music in any fashion. It was mostly alright, except when it sucked.
CNC: What were some of your early inspirations as a musical artist?
Adam: John Bonham, Greg Saunier, Zach Hill, Max Roach, video games, ambient noise and dissonance. Then gradually whatever creative bad habits evolved from using programs like FL Studio and Ableton. Either percussively or on a computer, it’s been a lot of falling into bad habits and working through them, then recording the progress.
Jordan: Messed up tapes, skipping vinyl records, noisy train rides in Chicago, The Lady Of Situations and Ironing.
CNC: What were your first musical projects like/called/about?
P: This is our first musical project. Adam made loops and detritus for many years before, and still does to this day. This was a constant learning experience for us, and each show we played was us trying to improve a little bit in an obvious way.
CNC: What instrumentation do you usually use?
P: Computer processing is a primary part of it. Lots of loops and effects are used and launched from a laptop, because it’s easier and cheaper than buying pedals and carrying them around, and because it rewards having lots of imagination and very little self-control.
Drums, no-input mixer, a loop pedal, guitar, bass, keyboards, and other instruments show up from time to time, usually in either a looping or improvisatory context. A lot of the songs are based in a combination of clearly digital and clearly organic elements, and usually “composition” consists of finding an interesting idea and building something around it.
Live, we try to do something different every single time, because we don’t want to be boring. Also because we can. Typically, the less we’ve practiced the more positive the response has been to the shows. Also being loud is nice.
CNC: Did you attend university or any form of school for music?
CNC: In that case, do you believe yourself to be an academic musician or do you identify yourself artistically as outside of the university confines?
P: We’d like to be academic musicians, but in the sense that we think extended technique is as viable a discipline as music theory, and a lot of proclivities towards writing songs are restricting because they end in everyone trying to sound like some other musician or group.
Jordan thinks music university confines its education to people with lots of time and money.
Adam thinks of “academic musicianship” as someone who makes any kind of music at all with a rigorous attention paid to how it is being made, even if it’s rock or dance music or power electronics.
Every genre of music has a language that grows from it being worked on for a very long time, and anyone who argues that one of those genres is less valuable than another because of some arbitrary reason (time spent crafting, consonance, catchy choruses, whatever) is short-sighted.
Anything done for a long time, genuinely, with dedication and intent to improve, cannot be inherently without value.
In that sense, we would like to become academic musicians.
CNC: So what is in store for the future of Philospiders?
P: We want to assemble a summer tour for the east coast. Adam wants to move to New York and continue recording. Jordan wants to perform as No Face, a solo act.
Philospider’s cassette is not yet available online, but if you are in the Tallahassee area you may find it at Retrofit Records, The Heart’s Desire House, or any Cookies ‘N Cream Records sponsored artist show. Also, if you happen to fancy downloading or purchasing the cassette, there is a super secret live track just waiting to get into your earholes!
Let’s all just take a minute to breathe, think, feel, and enjoy the passage of our days. Hold that feeling and meditate on it while you listen to the latest work by Fountainpen.
Trail is the followup album to Forest (of which, has been re-mastered and released via his Bandcamp here), and serves as the second installment in a four part series. When asked about Trail, and the series as a whole, Fountainpen had this to say:
“These two albums are part of a series of tapes I’ve been working on since I moved back to Tallahassee in 2012. Forest was released in October after almost a year of composing. Trail was composed between then and February of the next year. Both albums are intertwined by the series but also by the concepts they reflect. Forest is an album about Growth; learning, understanding, getting older and smarter. Trail is about Experience; travelling, seeing new things, feelings and emotions. Although both albums are centered around loose philosophical ideas, they also reflect on personal anecdotes, friends and family. The series as a whole (which will consist of 4 albums total) discusses the things in life that make us human. These two albums in particular embody the cycle of growing and experiencing that moves us forward. In order to experience more from life we have to grow, and in order to grow we have to experience more.”
Fountainpen will continue to work through his epic four part saga, with the writing and recording for the follow-up albums River and Castle slated to begin in Spring 2013.
Void Series Three By Michael Amason
So you like noise, right?
Michael Amason has unleashed a new tirade on this world, one of Death, not of mind. The next installation of The Void Series, Void Three.
It’s another slip down the rabbit hole, so to speak. Another delve into the Tibetan Book Of The Dead. Prepare yourself for the Bardo 13 through 18.
Track 13 off of Void Three had already been featured on one of Hermetic Library’s solstice albums, give it and the other contributing artists a listen, yeah?
A Loud Noise For Such Quiet People
Quiet People consists of three siblings; Joy (bass, vocals), John (guitar) and Luke (drums, synth) from Santa Rosa Beach, FL. They moved to Tallahassee a little over a year ago to attend college and since have been gaining a following in the North Florida area. It’s a straightforward sound: soft vocals, loud guitar, mathy drums and lots of synth. Indie-pop that’s as catchy as it is intricately written, and an engaging performance if you manage to catch them live.
Quiet People have been playing across Florida over the past year and are planning to tour in the summer. They have released two albums thus far: Symptoms of a Steady Mind (2010) and Childproof (2012). SOASM was recorded at their family’s house/music school (both parents being music teachers) in Santa Rosa Beach. Childproof was recorded in their current home outside the alumni slums in Tallahassee.
When we met Quiet People, they had only released their first album and were finishing up their second. We got into contact with the band, and low and behold; out now and available exclusively through the band, 25 copies of Symptoms Of A Steady Mind and Child Proof.
The cassettes will be made available soon online, but for now both albums are available for streaming via their bandcamp:
Living today as always is often difficult and banal just as it is often celebratory and full of surprises. Summer of Sam’s music reflects this sentiment. His songs are quiet and full of nuance and subtlety.
Sam, a fingerpicking balladeer and folk troubadour writes songs for campfires and living room circles, whether or not anyone cares to listen. Yet, if they happen to be around, they will stop talking and texting or at least they ought to because Sam’s songs are honest. They’re about longing and dreaming and full of quiet observations. Often that’s what matters more than anything.
Like his wonderful artwork as well, Sam’s songs are imbibed with a sense of grotesque detail. Minutea. Songs that are personal, aching and confessional.
His music is reminiscent of other classic loner folkies like Elliott Smith and Nick Drake (who both met untimely and early deaths). But I’m also reminded of more contemporary songwriters’ work like the early material of Iron and Wine or Devendra Banhart. Cold Face, particularly off of Deer Dream reminds me of Banhart and his New Weird America brethren, evoking the ghosts of forgotten freak folkers from the late 60’s.
“Sitting here in the backseat, I can’t really speak but I can see this world passing by”, from the song Passing By sums up a lot of what Sam’s songs are about. These are his paens to observation, the diary of his mind. Songs that evoke travel, open roads, countrysides and endless loneliness.
Though it may seem like a hyperbolic statement, Cold Stream sounds like it could be a sketch from Nick Drake’s notebook while he was penning Pink Moon. Many of Sam’s early influences are hardly surprising but in this case, that’s not meant as a negative. He lists the usual suspects of 60’s psychedelia and folk including Dylan, Hendrix, and the Dead up through to 80’s hardcore stalwarts like Minor Threat and Fugazi, Elliot smith, a spiritual Godhead of sorts to Sam’s brand of songcraft. Interestingly enough he also counts post rock heros and orchestral rockers Godspeed You Black Emperor as an early influence.
I sat and watched Sam perform a few of his songs on the front porch of his house that he shares with a few other kindred spirits in Gainsville, Florida , while I was on tour with King Ghost and Corpse Calypso. His recordings have the same warm, inviting front porch quality. Not to mention his stellar voice.
As stated before, Sam (born in New York) currently resides in Gainesville but he grew up in New Port Richey, Fla. A small and unassuming town on the outskirts of Tampa, “my younger life was pretty empty, you had to work to find anything decent”, he claims.
He found likeminded folk though, such as Sam Karl, another mutual friend and artist/songwriter aka Corpse Calypso who introduced me to Summer of Sam, the music and the man.
Sam, a friend to Cookies N Cream records is a humble artist still figuring out his greater plans. Let’s hope he continues doing what he’s doing and we’ll have plenty to look forward to.
Artist Spotlight: Avi Kovacevich
I met Avi Kovacevich in Fall of 2009 at the house I would be living in two years later. Over the course of his stay in Orlando we came to be good friends, as well as work on multiple projects together. Avi Kovacevich is many things: a photographer, a film-maker, a proponent of analog technology, an antique collector, a musician, a frequent user of Craigslist, a writer, a vinyl enthusiast and self-proclaimed pizza aficionado. All of which, I’m sure, lead to why we got along so well. He is a graduate of Full Sail University. When I lived in the same town as him he had a darkroom set up in the bathroom of his apartment. He always had much to teach when it came to the dynamics of lighting, film speed and other technicalities of photography and film. He was notorious to room-mates for bringing home vintage lamps, credenzas, rugs, tables, paintings, record players, and on one occasion a very heavy Wurlitzer organ.
Along with these and other attributes, Avi has always been a large supporter of Cookies ‘N Cream Records. After moving to Brooklyn he has released two recordings on our label with his band, Tapwater. He has also done multiple videos advertising C’NC artists, Sun’s Not Yellow and Fountainpen. Not to mention his involvement in Music For Moments (both with Fountainpen and on his own), which despite its long delay due to technical difficulties is still set to be released sometime in the future. However, my personal favorite out of all of his contributions to this label has to be the modeling he did for our first run of shirts (click HERE and enjoy). Avi has worked with multiple other musicians outside our label with his film-making, including friends of the label, Praything as well as Akron/Family.
Today, Avi lives and works in Brooklyn, NY pursuing his career in film. Avi’s art has influenced myself and the label since I met him, and continues to bring a much appreciated mix of detailed, stunning visual and his own brand of comedy to the table.
To see more of Avi’s work, including his photography, films and some collections he has, check out these links:
Artist Spotlight: Noise Of The North, Kristoffer Lislegaard
I first met Kristoffer Lislegaard via Soundcloud. As a fellow amp and noise lover, we immediately hit it off and began discussing our various musical ideas and standpoints. Kristoffer is a multifaceted artist who’s implementation of digital and analogue generated sound stretches across many genres, from droning ambient laptops to lo fi noise with analogue tapes and shoegaze inspired post rock soundscapes via dying guitars.
Kristoffer was born in to a family mostly interested in boats, engines and marine work, in Drøbak, Norway. Although loving the sound and smell of the sea Kristoffer did not share his two younger brothers fascination for boating, and was early on trying to figure out his own way of doing things. He found inspiration not from maritime attractions but rather from video games and guitar playing. Growing up on bands like Guns N’ Roses and Slayer as well as various punk bands, Kristoffer saw himself moving solely in the territory of traditionalized rock with a developing interest in black metal. But this phase was not to last, as Kristoffer explains, “one of my good friends ‘tricked’ me into joining him for an electronica concert. After this I got really interested in recording my self on our crappy home computer and see what I could do with the sound.” From then on he was hooked, listening to artists such as Four Tet, Chemical Brothers and Daft Punk, eventually working his way in a round about fashion to post-rock and post-metal outfits.
Kristoffer got his start in musical performance in various smaller bands with his friends, who’s members also moonlighted as the local music group playing musicals such as Fame and 1001 Night. From these modest beginnings Kristoffer would take his passions to the university level, studying live electronics at Oslo’s Norges Musikkhøgskole (known in English as the Norwegian State Academy of Music) after completing two years at the music school NISS (Nordic Institute of Stage and Studio) becoming the first student to ever finish the two years of popular music study with “laptop” listed as their main instrument.
When asked if he believed himself to be a strict academic musician or if he identified artistically as outside of the university confines, Kristoffer responded “Off course learned a lot, but I wouldn’t go as far as calling myself a typical schooled musician, and not academic, no. I have always been interested in doing stuff my own way, finding my own creative solutions to things. I was more interested in using the schools studio, learning about production and having laptop classes than practicing my piano lessons. At the live electronics study I knew most of the stuff from before actually, so it was more about connecting with good people, have some interesting workshops and be in a creative environment.”
Nowadays Kristoffer finds himself involved with several musical projects. He performs in the shimmery and intense electronic pop duo Sgrow with vocalist and love interest Vilde Nupen. They are currently working on their debut EP as well as a whole visual overhaul for the planned album-supporting tour. Look for tour info and links to their new music here:www.sgrow.org
Sgrow photo by Berit Fredheim
Kristoffer also occupies his temporal lobe as the other half of another duo, the drone inspired thunder machine known as Noiser, who are soon to release a very limited edition vinyl record for your enjoyment. Listen to the tracks and look up the buy it now link here: http://noiser.kristofferlislegaard.com/
Noiser is operated with fellow musician Alex Gunia. A powerhouse in his own right, Gunia heads up the 300 Acting Spaces, a series of multi national live streaming concert events.
“300 acting spaces is an open public, independent and non-commercial artistic research project initiated by the electronic musician Alex Gunia. It deals with the installation of especially designed underground performance laboratories for electronic and elctro-acoustic music located in Oslo, Berlin, New York, Beijing and Tokyo during the years 2012 until 2015. Together with national and local artists, these facilities will be used to go into an open, creative process of performing three hundred concerts. 300 acting spaces shall mainly be recognized as an open arena for modern musicians, but in addition to that, there will be a constant interdisciplinary exchange with visual artists.”
Read more info and catch some live streaming performances on the 300 Acting spaces website: http://www.300as.com/
And check out Kristoffer and Alex’s recorded streaming performance below
Last but not least there is Kristoffer’s solo work, which extends from his progressive metal roots all the way to full-blown noise and remix sessions. Kristoffer currently has a new album dropping, an analog cassette release entitled Pocket. CNC has the exclusive streaming link to this album before it hits the market, so check it out: http://soundcloud.com/kristofferlh/sets/kristoffer-lislegaard-pocket/s-ALPgy
Kristoffer Lislegaard is truly a powerhouse of ambient music, with a forward thinking attitude and a proven track record of tireless exploration and monstrous creativity. We here at Cookies ‘N Cream look forward to his next sonic move, because if history is any proof, it will be far more astonishing than the northern lights (and a hell of a lot louder too!)
Painted Faces Releases Real Life Horror Stories Part II
Haunted pop more your thing? Well have I got a horror story for you! Our own Painted Faces has done it again. Holed up in a Brooklyn loft with the house centipedes for the snow months, David Drucker delivers his most recent masterpiece:
Real Life Horror Stories Part II
(IN STUNNING SPECTRAL SOUND)
RLHSPII is available via free streaming, digital download, compact disc, or cassette tape. Take your pick! And the best part? Absolutely 100% of the profits go to the artist. Yup, it’s just how it should be.
If you love that B-Movie feel, then get off the couch, paint that face, pop on RLHSPII and jam all night with Vincent Price (and maybe he’ll show you his catacombs!)
Out Of The Fog Released On Cassette
The clouds have parted, the sun shines through, and yeh, our printers have finally reconciled their differences and delivered onto us a limited edition of 35 OOTF cassettes! They are going fast, with only 19 left, so hit the link below to place your order.
Hey All, up now is a long awaited release that has been on the back burner for quite a while. Jordan Fore’s solo guitar stand alone Murderer had released a tape quite a few months ago titled Aastha, and it was thought to have been lost to the analogue ages. But now it’s been tracked digitally for a debut onto the internet world.
Consisting solely of live recordings, Aastha comes in like a lamb and destroys like a lion. Don’t believe me? Give it a listen and be washed away in the ocean of tape hiss.
Sashash Ulz : Out Of The Fog
Sashash Ulz is the folky lamentation of mountains, the calming roar of acoustic expression, the decadent reverb of memories.
Coming to the shores of America from the Russian Federation, Cookies ‘N Cream is proud to put out this gem of acoustic, halcyonic, tape-fed rumination. The current digital releas will be followed shortly by a limited edition of 35 cassettes.
We were able to catch up with Sashash Ulz via email and pick his brain over what inspires him and causes the noisemaker that is his brain to tick.
Cookies ‘N Cream: So, what was your early life like?
I was born in Komsomolsk-on-Amur, a city in the Far East, In 1986. My grandparents lived there and my actual parents were spending their honeymoon in such a romantic place. Soon they went back to the city where they planned to live - Petrozavodsk, Republic of Karelia, on the opposite side of Russia. I don’t remember the early parts of my life spent in Komsomolsk, so that’s why I consider Petrozavodsk my hometown.
At the age of five I started attending music school and playing the piano. When I was twelve I quit it several months before the final exams, as it was no longer meaningful or fun. At the time I was listening to AC/DC and played the badminton rocket synchronically. I was inspired by everything in the mysterious life of post-USSR era including soviet rock bands, television, society etc. I started playing the guitar, making scratches on vinyl records and cutting/editing analog tapes before I was thirteen. It was the 90’s, and very few people in my city knew about experimental music, myself included.
Once I found a big acoustic Czechoslovakian guitar in the closet, invented my own chords, and started writing songs. My first band was formed in 1999. It was a trio of my classmates and I. After school we would play avant-garde style music, just for fun. Then I moved on to playing in a few punk rock bands… but experimenting with… or rather “abusing” classical and jazz music has always been my main stay.
CNC: What style of music would you say that you create?
SU: Speaking purely in the sense of genres, I can’t really define what style of music I adhere to. I play music with and without words.
CNC: Having attended music school, would you say that you identify as an academic musician?
SU: I have to say I’m far from being an “academic musician”.
CNC: What instruments do you use now in your creative process?
SU: I play common string and keyboard instruments. I also use sounds that I record while traveling, using a either a digital sampler or analog tape.
CNC: Besides Sashash Ulz, do you have any other projects going on?
SU: I play in the duo Dva Zagorodnyh Doma with my girlfriend Lena who plays solo too, as Kot Kot. Beyond that, Lena and I also play with a few other friends in the jam band Komariki.
CNC: Any other releases coming out?
SU: There’s a list of upcoming releases on our site. To name a few: the cd of jazzy improvised modulated keyboards on Fourth Dimension, the cassette of drone collages on Сae-cur-a, the cd-r of slow spacious guitar ragtimes on Reverb Worship, the cassette of tape loop manipulations on Lighten Up Sounds.
Also I’m looking forward to releasing Dva Zagorodnyh Doma’s music on Hot Releases, Eggy Records and Quasi Pop. Me and my fellow artist Kot Kot will definitely play gigs in 2013, both in and outside of Russia.
Hello dear followers and lovers of everything Cookies ‘N Cream. We’ve taken it upon ourselves to (preemptively) start the new year with a new site! We cast off the shell of our former Wordpress driven site in favor of the more streamlined Tumblr platform. The former website will be archived and available to view in the side bar soon, but all new releases and relevant news shall be hence forth broadcast from this new fangled webspace.