LP ONE was recorded, cut, and edited in a four-month period between February and June.
The album itself, our first release as a group (in truth, just one adolescent and a laptop computer...!), is an ambitious mixture of influences spanning from ambient techno/the 90s Electronica scene, experimental electronic and avant-garde elements, drone music, harsh noise, and psychedelia. It helps to think of it not as an experimental record, but more as a chemically damaged bedroom pop album.
On the technical front, the LP was composed, produced, and performed almost entirely using the Audacity sound editor, without use any of MIDI instruments, track alignment, or quantization, assembled with external samples, field recordings, generated sound (metronomes, tone generators, etc.), and a wide variety of audio effects/manipulation. The result is a swirling mixture of avant-garde soundscapes, textures, and concepts in a minimalist, lo-fi ambient-pop framework, where low-quality field recordings and heavy distortion provide gritty, low-fidelity textures, and the use of pitched/random-modulated tone generators as a melodic lead create looping, hypnotic melodies and drones with a distinctive sound. The distinctly sloppy, lysergic production blends it all together in a haze with layers upon layers of audio effects and distortion bordering on abstract noise, heavily treated sonic textures and samples firing off in the background, synth-like melodic leads assembled piecemeal from samples, generated sound, and effects, distorted noise and feedback that rips through the churning mix like a jackhammer, and rhythmic structure constantly nearing collapse under the sheer wealth of overdubs and clipping. A combination of heavy distortion, poor-quality recording/sampling, sterile computer-generated sounds, and an almost ridiculous overuse of high-sustain digital reverb, creates a distinct sonic profile that's alternatively murky and strikingly atmospheric.
If you can get past the drawn-out song structures, the patchwork production job, and the sheer amateur wackiness of it all, you're in for what could be one of the most unique listening experiences you'll ever treat yourself to.

LP One: the Not-Yet Ensemble

Interlude: the Snake Charmer (See you on the Flipside)

Vocal

Ardour

423_TicTacShutUp_prac_hat_open_2

Cactus/Group Jam: Percussion Synth, Metal Lid

Intro: Recorded at our Operating Level...

5 new releases from the Not-Yet Ensemble are included in "Martin Weaver Was Followed That Night", a new EP continuing further into more of a conventional sample/loop-based vein without losing much of the sloppy noise of the debut LP. The title and album art might suggest a darker, noisier direction, but "Martin" takes more of an adventurous, psychedelic direction; certainly a departure from the debut's sprawling noise experimentation.
The EP opens with a minute and thirty seconds of treated vocal samples (Found Myself A Reason), followed by the opening riff of "Schwiles-Tracks": a pulsing up-tempo number with a slight dark ambient undertone, highlighted by pounding TR-707 samples, a repetitive main bass riff, and a cut-up, off-kilter guitar lead.
This is followed by "Fgnag", a psychedelic rock-influenced cut with martial, compressed drums guiding a swirling mess of layered reverb-guitars, building up to satisfyingly crunchy distortion in the climax;
"Gift-Bringer Intro" is a brief noise-ambient interlude, and "Making Sense of Rhythm & Blues" closes out the EP with a mid-tempo, dreamy psych-pop outing.

Making Sense of Rhythm & Blues

Gift-Bringer Intro

Fgnag: at Optimal Speed

Schwiles-Trakcs

(Found Myself A) “Reason”

ATTENTION:
Though I have elected to leave this page up for archival and public availability, the NYE Soundcloud is being deprecated, as I am migrating to Bandcamp.
High-res downloads for LP One are available at https://notyetensemble.bandcamp.com, and the rest of my released and unreleased work is coming soon!

Not-Yet Ensemble

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