Artist: RXM Reality
Album: Advent
Format: Digital / Vinyl
Release: June 25, 2021

Music by Mike Meegan
Visual art by Keith Rankin
mastered by Angel Marcloid

Following a series of releases on the label Hausu Mountain, Chicago’s Mike Meegan aka RXM Reality makes his Orange Milk debut with Advent, a collection of pummeling electronic impact music. Heavily inspired by the sound mix of blockbuster movies, the music is aggressive with a new industrial feel, where breathing sounds, sword swipes and gun loading clips are manipulated beyond recognition into raw form and texture. In contrast to the mechanical timbres, the actual composition and feel of the music is loose and free; hook-like rhythmic passages will occasionally lock into place, but there isn’t much overt acknowledgement of the computer grid. I think RXM Reality and other likeminded artists are slowly erasing the separation between perceptions of acoustic and electronic music. By interfacing so seamlessly with the tools of creation, the music feels hand-hewn, idiosyncratic, and mechanical all at once.

While often purely percussive, Advent also features a stronger focus on harmony and melody than previous RXM albums, adding a layer of sudden melancholy maybe most notable in tracks like “Character Limit”, which strips back the chaotic bombast in favor of an understated harmonic passage, or “These Days” which begins with an almost gentle looping melodic phrase before aggro rhythmic blasts interject. Mike describes his previous few albums being inspired by darker themes, but by the end of Advent we start to see a lighter perspective shine through.

RXM Reality - Grip Of Evil

lyrics: Ambrosine Arceneaux
music: Connie Criswell, Rich Bank, Von McLaughlin & the Heschler Vocal Trio

I'm Also A Millionare

From s309-331 - Splice Girls - Spliceworld c59

Out 2/17/17 - suite309.bandcamp.com

Splice Girls - Not A Boy Who Thinks He Can Get Deeper And Down

https://soundcloud.com/hausu-mountain
more @ http://mitaminelab.org

mitaminelab.org

TRACKLIST

ML241: Hausu Mountain

Enigmatic noise deity Aaron Dilloway digs through his massive archive to weed out the weirdest, most wonderful covers we've ever heard. This ain't your average FACT mix.

For more information head here: http://www.factmag.com/2017/08/07/fact-mix-613-aaron-dilloway/

FACT Mixes

FACT mix 613 - Aaron Dilloway (Aug '17)

Kill Alters' Bonnie Baxter celebrates her new tape on Hausu Mountain with a set of freaky jams she calls a "heart/mind" mix, pulling together cuts  from buds from around her New York underground scene, and fellow mutants worldwide.

Read more: https://noisey.vice.com/en_us/article/yw7pzv/bonnie-baxter-noisey-mix-interview

Tracklist:
"We Are Lift Boys" - Lift Boys A.K.A. (EYE) 
"live improv" - Prolaps (Bonnie Baxter X DJ Machine Girl) 
"He’ll Give You Six" - Pepper Mill Rondo 
"Machines Against The Rage" - qebrus
"Singing a song" - Kill Alters Archives 
"AWAWAW" - SAICOBAB
"Which Fork (YOKUBARI and Jeremy Hyman remix)" - L’Rain 
"live Improv" - Prolaps (Bonnie Baxter & DJ Machine Girl) 
"Stay, Go  (Geng Silver Abyssmal Remix)" - L’Rain 
"Pelvic Floor Limited" - Yasushi Yoshida X Kill Alters 
"Roach On Dope" - Machine Girl 
"Burn The Witch" - LSDXOXO
"Amnesia" - Special Request / "Lesser Artist Borrow, Great Artist Vape" - Pepper Mill Rondo 
"Nobody Cares" - Kill Alters Archives 
"Iceman icky grimy mix" - Buttress 
"Ghost Lover" - Lee song 1980’s (Kill Alters Archives) 
"Axiom" - Bonnie Baxter 
"Choo Choo Choo I can I can" - Kill Alters Archives

Noisey Mix: Bonnie Baxter

The Chicago-based musician best known as Fire-Toolz shares a mix in celebration of her smooth, surreal, and proggy record inspired by the Weather Channel.

Read more: https://noisey.vice.com/en_us/article/panjjy/nonlocal-forecast-noisey-mix

Tracklist:
0:00:00 Fowler & Branca - Etched In Stone (Etched In Stone, Silver Wave Records, 1993)
0:04:40 Brian Bromberg - Sedona (Brian Bromberg, Nova Records, 1993)
0:11:00 Jerry Goodman - I Hate You (It’s Alive, Private Music, 1987)
0:15:54 Tom Grant - Journey Within (The View From Here, Polygram, 1993)
0:21:04 Doug Cameron - Vertigo (Passion Suite, Spindletop, 1987)
0:24:32 Tom Scott - Water Colors (Flashpoint, GRP, 1988)
0:29:47 Checkfield - Live At Five (Through The Lens, American Gramaphone, 1988)
0:34:34 Christophe Franke - Black Garden View (Pacific Coast Highway, Virgin, 1991)
0:39:13 Trammel Starks - Old Town (Gentle Storms, Intersound, 1995)
0:43:48 Victor Biglione - Za-Tum (Baleia Azul, WEA, 1987)
0:49:00 Dancing Fantasy - Happy Harry (California Grooves, Innovative Communication, 1991)
0:53:16 Allan Holdsworth - Dodgy Boat (Wardenclyffe Tower, Restless, 1992)
0:58:42 Maxxess - Castle On The Mountain (Landscapes [1990-1995], Klangdesign, 2011)

Noisey Mix: Nonlocal Forecast

RA's North American editorial team talk top releases, DJs and trends.

For more, visit Resident Advisor: https://www.residentadvisor.net/podcast-episode.aspx?exchange=454

RA Exchange

EX.454 Critics Roundtable

Water can put out flames 
But nothing can stop this day
I feel a high tide in my eyes 
Brimming at the sight of you 
I feel a high tide in my chest
Ready to flood this house 
Gush down the hallway 
Crashing through the windowpane 
Wash the pain away 
Water can put out flames
But nothing can stop this day

Written and performed by Eartheater 
Produced by Acemo and Eartheater
Mixed by Kiri Stensby 
Mastered by Heba Kadry 
Cover art direction by Christian Velasquez 
Photography by Sam Clarke

Eartheater - High Tide (prod. Acemo, Eartheater)

ARTIST: Long Distance Poison
ALBUM: Technical Mentality
to be released on 1/31/20 on Hausu Mountain

hausumountain.bandcamp.com/album/technical-mentality

Long Distance Poison is the Brooklyn-based ambient/drone synth duo of Nathan Cearley and Erica Bradbury. Technical Mentality, their third release on Hausu Mountain, follows Lama Nada (HAUSMO40, 2015) and Knock Magh (HAUSMO75, 2018), and joins a catalog of releases on labels like Constellation Tatsu, and Ecstatic Peace!, Deep Distance. The album continues the duo’s exploration of extended, transportive synth sessions sculpted from Cearley’s modular systems and Bradbury’s keyboards and analog gear. While Lama Nada floated through thick passages of drone and Knock Magh jittered with discordant fragments of sub-oceanic foley, Technical Mentality presents swathes of nearly empty space colored in piece by piece with slow-brooding chordal synth voices. The album highlights the specificity and fine-grain detail of the duo’s electronic tableaus, as each patch and understated melody receives its own room to swell and complicate against a desolate backdrop. Long Distance Poison generates tension and narrative flux by contrasting dissonant spreads of alien tone against moments of striking harmonic complexity. The textures on display range from smeared synthetic washes to crunched, distorted tones, to segments of glistening arpeggios that inch closer to the precedent of Berlin School synthesis. Drawing inspiration from the inhuman aesthetics of early computing technology as much as the beatific grandeur of nature, Long Distance Poison splits the difference between environmental world building and the cold, increasingly familiar internal architecture of the technological era.

Technical Mentality features two sidelong pieces that evolve through a network of distinct moods and levels of density. Slow vortices of standing tone swell into tiered lattices of chiming melody, as if to unearth some evidence of living tissue in the ruins of a future wasteland. Elements hit the mix that land somewhere between conventional notes and abstracted textures, blurring the line between implied harmonic systems and the pure act of gazing into the abyss. When the duo chooses to ramp up the level of activity and introduce attendant layers in the haze, they lock into rhythmic grids that sketch out slow chord progressions and fluctuating melodic patterns. At other moments, the tones they present seem to mimic timbres inherent to the industrial and digital eras: the whirring of machines at the end of a factory shift, the clustered tonal ring of a device in an empty room, the last wail of a dial up modem before its replacement. Long Distance Poison strips the notion of human-and-machine symbiosis of the discernible markers of instrumental performance. Instead, they present a hollowed out quasi-reality where only a spiritual afterimage of human presence remains.

Long Distance Poison - Giving Up On Me (excerpt)

Angel Marcloid (Fire-Toolz, Nonlocal Forecast) Mix For Chicago Selects

1. 00:00:00 - Prurient - Asphalt Lilacs + Paul McCandless - Now And Then
2. 00:03:34 - Christopher Cross - Rendezvous
3. 00:08:45 - Thierry Mineau - Framboise
4. 00:14:41 - Plini - Salt & Charcoal
5. 00:18:26 - Jonn Serrie - Tingri
6. 00:22:10 - Hair Police - We Prepare + G.E.N.E. - Life Is A Melody
7. 00:25:31 - Nate Young - Half Full
8. 00:30:33 - David Sanborn - Lesley Ann
9. 00:36:21 - Hassan I Sabbah - Not So In Tune With Shells
10. 00:37:28 - Brian Bromberg - Sedona
11. 00:43:45 - Fred Simon - Badlands
12. 00:49:48 - Eko - Compass Rose
13. 00:54:06 - Khere - Vendetta
14. 00:54:29 - Suis La Lune - Fingers. Voice. Heart. Shake. Shake. Shake.
15. 00:56:14 -  Wormsblood - Crypt Inside A Kingdom
16. 00:58:48 - Exivious - One’s Glow
17. 01:03:07 -  Wolf Eyes - Laughing Tides
18. 01:04:49 - Stuart Chalmers & Yol - Rusty-Rats + Paul McCandless - Last Bloom
19. 01:08:15 - White Suns - Cathexis
20. 01:12:03 - Checkfield - Live At 5
21. 01:15:53 - Fred Simon - Air For Sarah

Angel Marcloid Mix For Chicago Selects

A label run by Doug Kaplan and Max Allison. We operate out of Chicago, IL and release music on vinyl, on cassette tape, and digitally via Bandcamp.

It’s likely that we’ve never met, but we believe that all of the decisions you make as a person operating in this world are well-intentioned and correct in their own way and with that belief in our minds we’d like you to know how deeply we admire you.

Long Distance Poison - Giving Up On Me (excerpt)

Hausu Mountain

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