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Hausu Mountain

Hausu Mountain Downbeat | Electronica | Leftfield 11 Items

Name: Fire-Toolz - I Am Upset Because I See Something That Is Not The
Brand: Hausu Mountain
SKU: 1074534v1
Price: 31.99 EUR
Availability: OutOfStock

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Hausu Mountain

Fire-Toolz

I Am Upset Because I See Something That Is Not The

LP | 2024 | EU | Original (Hausu Mountain)

31,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / EU – Original

Genre: Electronic & Dance

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FIN

Cleats

Tape | 2024 | US | Original (Hausu Mountain)

17,99 €*

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Release: 2024 / US – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-06-14

FIN is the musical alias of Canadian-born, New York-based artist Fin Simonetti. Her multidisciplinary practice ropes in elements of future-facing pop music, experimental-electronic production, and visual art. For more than a decade, she has exhibited her ambitious sculpture and installation works — oriented around marble, metal, and stained glass — at galleries and museums worldwide. Cleats, her second album on Hausu Mountain, follows 2017’s Ice Pix. Building on Simonetti’s omnivorous production sensibilities while refining her presence as the idiosyncratic personality at the heart of her compositions, Cleats offers us a vision of contemporary gonzo pop shaped by her affecting vocal performances, her finely curated palette of juxtaposed electronic tones, and her deft integration of genres both inside and outside of the pop tradition.

FIN populates her self-produced music with layers of digital synth lines, bludgeoning percussion, and found sounds that cohere into a dense backdrop whose exact level of “fidelity” remains always in flux. Chiming bell tones float over synthetic orchestral strings and churning organ arpeggios, conjuring up mental images of sacred religious spaces splintered by the intrusion of digital technology. Simonetti hijacks signifiers from the art world that she occupies in one quadrant of her practice, captured in the baroque instrumentation she selects for her productions and her lyrical infusions of subject matter plucked from “Flemish Still Life” and “Pre-Raphaelite” art — mirroring her sculptural works that warp stained glass and its history as a trade practiced by Italian immigrants in Canada (including her own family) into uniquely modern forms. To put it simply, FIN sings what she knows, and builds her sonic palette around the life she has patiently sculpted for herself over years of back-breaking effort carving marble, cutting glass, and welding metal.

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M. Geddes Gengras

Expressed, I Noticed Silence

Tape | 2022 | US | Original (Hausu Mountain)

14,99 €*

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Release: 2022 / US – Original

Genre: Electronic & Dance

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Over the last decade, M. Geddes Gengras has released an enormous catalog of wide-ranging, synth-focused music in both solo and collaborative settings. He has participated in influential experimental groups like Sun Araw, Pocahaunted, Robedoor, and Akron/Family. Expressed, I Noticed Silence, Gengras’s third release on Hausu Mountain, exemplifies Gengras’s penchant for constant self-reinvention and genre-defiant exploration within a catalog whose every release carries his essence as a composer and synthesist while surging forward into new ideas and territories. With Gengras’s slowly unfurling ambient landscapes and his signature approach to rhythms animated by cyclical basslines and the layering of high-definition synth voices, Expressed, I Noticed Silence builds on the precedents set by his recent output while digging deeper into melodic sculpting and lush harmonic architectures than ever before. The presence of Gengras’s brother Cyrus Gengras (who has worked with artists like Kevin Morby, Amen Dunes, and Jessica Pratt) on electric guitar, casting off glistening lead melodies and webs of clean-toned arpeggios, cements the connection to the delay-drenched guitar work of precedents like Manuel Göttsching and Robert Fripp. The album’s zoned atmospheres and slow-building tiers of synth call to mind the interplanetary explorations of astral electronic music composers like Klaus Schulze, Michael Stearns, and John Serrie. More than anything in Gengras’s recent catalog, Expressed, I Noticed Silence continues along the arc of more modern post-kosmiche contemporaries including Emeralds, Bitchin Bajas, and Hausu Mountain label-mate Pulse Emitter. The album testifies to M. Geddes Gengras’s skill not only as a sculptor of tone and texture, but as a storyteller in the medium of electronic music — using the tools at his disposal to conjure complex moods and emotional spaces that lay out vistas looking across zones that approach the distant horizon.

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Andrew Bernstein

A Presentation

Tape | 2022 | US | Original (Hausu Mountain)

14,99 €*

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Release: 2022 / US – Original

Genre: Electronic & Dance

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Composer / saxophonist / multi-instrumentalist Andrew Bernstein has been an essential part of the Baltimore experimental music scene as a member of avant-rock champions Horse Lords, a frequent collaborator with acts like Dan Deacon and Matmos, and an erstwhile member of the High Zero Collective – Baltimore's premier experimental music presenter. Based in Baltimore for much of the last two decades, he currently resides with his family in Germany. Under his own name, Bernstein composes music focused on the material of sound, typically oriented around the tuning system of just intonation: the selection of notes based on the physical properties of sound which yields frequencies that provide more "perfect" harmonies outside of the capabilities of the 12-tone scales that appear in Western music in idioms ranging from classical / orchestral composition, to mainstream pop, and most everything in between. Bernstein's work can swell into flights of virtuosic sheets-of-sound overload or stretch individual tones into time-dilating durational exercises that emphasize the relationships between overtones and explore the unique harmonic series that he lays out for each piece. Andrew Bernstein returns to Hausu Mountain with a new album called a presentation. Oriented around his long-form, layered saxophone performances and presented with occasional drone-based accompaniment from electronic sound sources, the album finds the artist pushing the limits of both his compositional ideas and the physical reality of his craft. The result proves just as spellbinding as Bernstein's work on the more rhythmically busy side of the spectrum, showcasing his patience as a composer, his deep tutelage in the properties of overtones and microtonal harmonies, and the improbable precision with which he can produce sounds from his saxophone - an instrument not necessarily designed to easily achieve these specific frequencies / pitches - in order to match the ideas in his head.

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RXM Reality

Sick For You

Tape | 2022 | US | Original (Hausu Mountain)

14,99 €*

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Release: 2022 / US – Original

Genre: Electronic & Dance

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Chicago-based producer Mike Meegan records music under the moniker RXM Reality. Meegan’s three previous albums on Hausu Mountain sketch out an evolving trajectory of omni-electronic rhythmic music that warps elements of grime, dubstep, mutated techno, hyperpop, and noise into unpredictable compositions overloaded with synthetic textures and fast-scrolling beat structures. With the new album sick for you, Meegan pushes the RXM Reality project into brand new zones along multiple intersecting spectrums. For the first time, he incorporates his voice into his work, employing a series of contrasting vocal styles that complement productions which shine with more finely-crafted details and narrative hairpin turns than ever before. The album feels more progressive and overwhelming than any prior output with its pointillistic beat mosaics and melodic arrangements, taking a few steps closer to some vision of contemporary pop music soaked in adrenaline and ballistic energy. RXM Reality’s production thrives on drama, conveyed in mammoth bursts of overlapped drum elements planted over quick-cycling snippets of software synthesis and Midi guitar. The percussive contours and chest-beating energies of sick for you can sound at times like festival-ready EDM or dubstep (even “brostep”) refracted through a funhouse mirror, maintaining a sense of swaggering confidence and bombast even as shards of disembodied beats and synths melt into putty around the edges of the mix.

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