Corrosiv, the sophomore album from Orchestroll, reveals the duo at their most mature and vulnerable. Originally conceived as a reflection on hybridity and bastardization, the album deploys New Age and ambient compositional tropes as a launchpad, exposing their trite sanctity to the realities of corrosion. Having come of age in the 1970s and 1980s, the New Age movement perdures today as a domain of contradictions; its promise of transcendence riddled with the very commercialized dogma from which its adherents claim to flee. Healing modalities such as reiki, crystal therapy, and sound baths are simultaneously pathways to solace and sites of exploitation; their sonic counterparts — ethereal synth pads, shimmering textures, celestial drones — claim to facilitate meditation and enlightenment while devolving into empty signifiers of vitality. With Corrosiv, Orchestroll displays neither reverence nor disdain toward New Age: they exhume it instead, revealing the saccharine effervescence and commodified murk undergirding its aesthetics. The result is intoxicating — disquieting.

Born from a two-week residency at EMS Studios and expanded through a performance at MUTEK Montreal’s 25th anniversary, Corrosiv has since outgrown its original conceptual nucleus, taking on a broader scope. Its inquiry into New Age ideology’s voided rhetoric and aesthetic mysticism now informs a broader interrogation of cultural mediocrity, anti-authoritarianism, gatekeeping, music industry toxicity, and the crumbling edifice of late capitalism and techno-feudalism — all the mechanisms by which meaning is stripped from ceremony, and once-potent forms of knowledge are subsumed into the machinery of economic extraction, severed from their original essence, and transformed into hollow simulacra. Corrosiv distills these themes through a loose narrative: a soul, fixated on wellness as dictated by cosmetic economism, becomes ensnared in an endless afterlife, unable to transcend and shed its dilapidated consciousness.

Conceptualized, composed, performed, recorded, mixed, engineered and produced by Jesse Osborne-Lanthier, and Asaël Richard-Robitaille in 2023 and 2024 at Elektron Musik Studion (EMS) - Stockholm, Sweden and Landsc8pe Studio - Montréal, QC, Canada.
Artwork by Jesse Osborne-Lanthier.
Mastered by Stephan Mathieu @ Schwebung Mastering.

Sound is acrid.

Amour à Pauline et Madison.
Thank you, Ben.

Words on:
Track B2 – Jesse Osborne-Lanthier
Track C3 – Jesse Osborne-Lanthier & Asaël Richard-Robitaille
Track C4 – Heith & Jesse Osborne-Lanthier
Track D3 – Bernardino Femminielli & Jesse Osborne-Lanthier

Additional personnel:
Heith – Pipe on A2, A4 and voice on C4
VISIO – iPhone and additional Buchla e200 on B1
Jiyoung Wi – Violin and electronics on C1
Habib Bardi – Saxophone on D3
Bernardino Femminielli – Vocals on D3

Patina Shift

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 ˅。 。。   。。。。。。。。。。  。 。 。。。 。。。。。。 。     。。。。。 。
。。。pǝɔᴉʇʇɐʅ ; ;  ̓ ˅ ˂ ̱ 。spɹoɔ 。 ; ; ˼ ̘ ΃  ʬ 。  。。。  。。。
  ΃      ˼ ̘ 。。。。。 。。。 。。。 。 。  。 。。   。。。 。          。
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Label by fdg. (@francesco-de-gallo)

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so manic It kills you
so funny you die
there's always so much going on...

some grass (for touching):
https://i.imgur.com/RbnIsLD.png

Patina Shift

29 Speedway