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Mongst :: Water Water Everywhere But Not a Drop to Drink (Prairie Fire Tapes) CASSETTE

$7 CAD
Mongst :: Water Water Everywhere But Not a Drop to Drink (Prairie Fire Tapes) CASSETTE
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Mongst :: Water Water Everywhere But Not a Drop to Drink (Prairie Fire Tapes) CASSETTE

$7 CAD
From the Prairie Fire Tapes Website:

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Prairie Fire continues to release the sounds of the Vancouver underground. While many folks might be unfamiliar with Mongst, they probably will know Jeremy Van Wyck’s (JV Dub) other musical efforts, Shearing Pinx and the Isolated Now Waves label.

Water Water is (in our opinion) the pinnacle of J’s 5 year run as Mongst. The 7 tracks present some of the most stunning and shimmering ambient experimentia we’ve heard. This time of year as always super hectic so having this tape on hand has been great to put me in a good headspace to handle almost anything.

Consider this a teaser for an upcoming LP to be recorded this summer that J describes as ”a mix of the drone style found on water water... and post punk noise rock trax, similar to what was on the de-colonisation ep or the a poison stronger than love cassette”.

Pro–dubbed w/ Download code.

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Listen Here:
http://prairiefiretapes.com/samples/pf033-a.mp3
http://prairiefiretapes.com/samples/pf033-b.mp3

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Foxy Digitalis

Every once in a while, an album hits you seemingly out of nowhere. After you’ve heard a lot of drone and synth tapes that echo the same sensibilities, it’s fun to hear someone do something that sounds different. Anyway, Mongst is one Jeremy Van Wyck (aka JV Dub), who is probably familiar to some as the drummer for Shearing Pinx and through his work with the label Isolated Now Waves (which has also released a ton of his previous work as Mongst).

To be perfectly honest, it’s pretty hard to tell exactly what instruments or noisemakers Van Wyck is using on this, but I can’t say it really matters. What I can say with 100% confidence is that this sounds really good, and if I never figure out every bit of its deepest inner workings, so be it. With all of its mystery, what’s really great about this tape is that the music is incredibly varied, but still manages to adhere to some kind of central ideal. Underneath it all, there’s a sense of darkness and menace to this that comes across in its layers of powerful noise.

Take the song “40 Hours a Day,” which brings in bits of buried melody, odd hums and drones, and also looped vocal samples. In ways, it’s some kind of electronic ritual music, with its repeated vocal chants and rumbling pulses. This track is also a great indicator of the type of deep, stratified sounds that are found elsewhere on the tape. Even with how out-there this one gets, the song after it, called “Grey County Blues #3,” ups the ante even further. For a while, it’s brings wave after wave of pummeling, staticy noise, but eventually gives way to an ominous bit of post-punk funk punctuated with ghostly voice samples.

There are plenty of other twists in store, including tracks like “Blueeulb.” Here, the heavy drones are gone and replaced by repeated bell tones and what sounds like backward-masked renderings of the same thing. Unlike the heavy effects elsewhere on the album, this comes across as something almost serene, while never losing that all-important sense of darkness. This track appears on the second side of the tape, as does “Negative Liberty,” another piece that follows a more subdued path. Maintaining some of the aesthetic of “Blueeulb,” you get more backwards tape sounds, but you also get some odd samples of accordion music (at least I think it is). Not to be missed is the massive closer, “Hiding in the Chapel,” which pulls together samples of what sounds like Indian music and punctuates it with an underlying pulse of drum machine beats. It really bring back that ritualistic feeling that permeated “40 Hours a Day,” but still manages to do it in a very different way.

There’s no getting around it, this is just a damn good tape. If you’re in the mood for some powerful, out-there sounds, this will definitely not disappoint. There’s only fifty copies of this, so if you want one, you know what to do.

-Matt Blackall