Tasukete – the second collaborative album by New York experimental/solo outfits GRIDFAILURE and MEGALOPHOBE – was released through via Nefarious Industries in October, and now a new video for the album’s tweaked “Panic Day” has been premiered through Toilet Ov Hell.
MEGALOPHOBE describes “Panic Day” as, “An acoustic introduction to sustained anxiety. Floor toms beaten with abandon, obsessively repeated guitar loops, throat abusing imperatives to remain calm – what’s not calming about that? Recorded in the lounge at GRIDFAILURE‘s The Compound, with both vocal tracks added later on, we stripped away almost all of the big electronics and amplifiers present on most of our other songs in favor of the physicality of acoustic instruments and tension. ‘Will it be okay?’ Yeah, probably not.”
GRIDFAILURE exposes on the video for the song, “We shot this twice. We had initially filmed it on MEGALOPHOBE‘s Forked Audio’s roof in Bushwick in June, with an end-of-days 110-degree heat index. However, I apparently discarded or incinerated that footage, so we re-shot it one afternoon in October; I filmed clips on my way through the Bronx and Queens in to Ben’s joint in Brooklyn where we filmed most of this madness on the roof. Again.”
Toilet Ov Hell provides, “The mixture of electronics and acoustics blends both the traditional and experimental music worlds perfectly. The atmospheric tone of the song combined with the frantic video footage makes for a terrifyingly beautiful experience.”
See GRIDFAILURE and MEGALOPHOBE’s “Panic Day” video at Toilet Ov Hell RIGHT HERE.
Tasukete is out now through Nefarious Industries on all digital platforms and via eco-wallet CD, available at the label webshop HERE, at MEGALOPHOBE‘s Bandcamp HERE and GRIDFAILURE‘s Bandcamp HERE.
Levitt continues to join Brenner’s live lineup of GRIDFAILURE, with more being plotted for the fall months. MEGALOPHOBE and collaborative live sets for the Tasukete record will be organized in the weeks ahead.
GRIDFAILURE Live:
12/08/2018 TBA – w/ Zud, Black Mica
12/09/2018 Sun Tiki Studios – Portland, ME w/ Zud, Nuclear Bootz, Black Mica [info]
Tasukete began to take form not long after GRIDFAILURE and MEGALOPHOBE‘s first joint album, Dendritic, released in early 2017, the album title (Japanese for “help me”) ripped from the language lab in The Exorcist. Tasukete was performed, recorded, and mixed at GRIDFAILURE‘s The Compound in Rockland County and MEGALOPHOBE‘s Forked Audio in Brooklyn, and sees the two artists employing electric and acoustic guitars, bass, drums, keys, accordion, harmonica, and more, with a bombardment of vocal styles. Levitt’s brother Rob Levitt performs on several of the tracks, and the cover art was handled by Paul Tierman and David Brenner.
“‘Tasukete’, the song itself is a noisy nightmare, a soundscape to the struggle of the soul in the contemporary urban climate, the sound of late capitalism trapped in a spit bubble and a discarded piece of chewing gum on a subway platform… This isn’t music as much as it is Cinema Verite as imagined by two auteurs who’ve been raised on a steady diet of Wolf Eyes and the sounds of Hell’s Kitchen in the early 1980s.” – PopMatters
“…a nearly five-minute mind-melter of abrasive noise, dizzying atmospheres, pseudo jazz instrumentation, and psychotic vocals. It’s like being trapped in a funhouse while under the influence of illicit substances.” – Svbterranean, on lead single “Agoraphobic Claustrophobia”
“…this time around it’s more urgent and mechanical. Heavily effected vocals, industrial elements, ambiance, feedback and noise swirl amidst seemingly random song structures… While mostly dissonant and avant-garde, there are semi-traditional moments…” – Heavy Music Headquarters
“Twisted and dark, GRIDFAILURE and MEGALOPHOBE have an intimate understanding of the horrors of the human race. There is something wonderfully eerie about this record. The way it ebbs and flows, darting around the corners of your reality. This is the sort of horrified nonsense that Luigi Russolo must have envisioned when he first started to refine this kind of music in the 1910’s. On the cutting edge and unafraid to push well beyond the sanity of the common man there is something almost Lovecraftian about this murk. It writhes darkly and greedily, begging you to come forth and suck at the unholy blasphemous teat.” – Two Guys Metal Reviews
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