Long Distance Poison - Astro Topoi
LP - Limited to 300 Copies.
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 Deep Distance 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”. The back cover of the album features an essay by science fiction writer and poet