Addleds explores timbral and textural extremes of distended instrumental technique via improvisation and open-ended compositional strategies. Their music tends towards a brutalist minimalism as informed by the noise underground as by recent developments in the field of free improvisation.
Lance Grabmiller and I have been partners in shudder (with Phillip Greenlief) since 2004, on double reeds and digital electronics respectively. In 2012, we began exploring a duo configuration employing exclusively modular analog electronics. The results have thus far been delightfully nasty, unapologetically invoking our mutual love of old-school industrial crunch. Our opening salvo is available as a FREE DOWNLOAD.
“. . . if I closed my eyes, I managed a vague, if largely false, memory of being present at a Smithsonian Folkways recording session in some obscure basement in Mumbai or Tunisia. A mad rumba line was twisting insect—like through the cabaret, driven in their frenzy by the rubber mallets and honking legbone flutes of the featured musicians. At one side of the room, a group of Fez-appareled recording technicians could be seen working diligently on some ancient machinery. . .”
“This began as an ill-tempered lowercase/eai duo recording session, and over the course of 3+ years somehow mutated into a snarling, campy hybrid exorcising some long-dormant adolescent industrial dance demons. Avant snobs with a Skinny Puppy skeleton in their closets will be delighted. . .”
“. . . Clatter and scrapes derived from highly amplified, unidentifiable sources give the music a bracing tactility, and a meticulous sound mix suggests three-dimensionality. The constantly changing array of foreground activity and subtly morphing environments produce a gripping suspense that complements the stunning tonal palette.” (Peter Margasak, Downbeat)
Various post-avant spectrums toyed with but tossed out the window for rock, except what exactly is rock? One man’s Sabbath is another man’s Butthole Surfers. One is feeling Floyd while another is feeling DNA & yet another thinking mid period Crimson & another early period Crimson & then someone is somehow thinking James Tenney… The verite m.o. of the first album is forgotten – this thing expands freely in four dimensions, becomes massive. There is no hope for this music – it’s impossible.” (Sickroom press release)