Liminal drone-pop from Ensemble Economique (Denovali, Not Not Fun), tactile sound corrosion from Jim Haynes (Editions Mego, Ghostly International), and polyglot esoterica by way of murder ballad and / or blotted collage from Robert Millis (Climax Golden Twins, Abduction, Sublime Frequencies).
Based in California’s Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and molds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project.
Jim Haynes is a California artist defining his work through the phrase, “I rust things.” The statement embraces a multiplicity of meanings across various media. There are three major approaches in the work at large: the mangled surfaces of corroded photographs, the cryptic tension of the video / expanded cinema pieces, and the caustic field disturbances in sound composition. Blight. Dislocation. Subcutaneousness. Toxicity. Brackishness. Psychic unease. These allusions (amongst others) develop and materialize through various chemical, digital and/or analog means, often an intertwined amalgam. This process seeks to accentuate the instability of these conditions and territories as a series of evocations, hauntings, convulsions, and evanescence.
“Some people can sum up their lives on a business card; Robert Millis needs a whole deck, full sized, both faces of each playing card, and you’re still liable to miss something while he shuffles. Filmmaker, photographer, guerilla ethnographer, collector and sharer of 78 RPM records, weaver of multi-layered ambiences, improviser, annotator, jokester, traveler…” Bill Meyer, Dusted. He’ll be playing a duo set with trumpeter Greg Kelley.