Drowse - Wane Into It - CASSETTES
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In 2019, Drowse's Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he's emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound's Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre Inchliving-wakeInch gathering-with the soon-to-be-deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. It's uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life's hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast-vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant-electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc...). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates's songwriting and production have never been more lucid; sounds
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- GenreRockDescriptionIn 2019, Drowse's Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he's emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound's Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre Inchliving-wakeInch gathering-with the soon-to-be-deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. It's uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life's hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast-vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant-electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc...). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates's songwriting and production have never been more lucid; soundsArtistDrowseTitleWane Into ItFormatCassetteLabelFlenser
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In 2019, Drowse's Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he's emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound's Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre Inchliving-wakeInch gathering-with the soon-to-be-deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. It's uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life's hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast-vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant-electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc...). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates's songwriting and production have never been more lucid; sounds
In May of 1980, Mount St. Helens erupted and everyone in the Pacific Northwest was touched by it's ash, it's destructiveness, and it's story, a shared experience that became an ash souvenir. Ash Souvenir is the collaborative album by Drowse (Kyle Bates) and Ragana (Maria and Noel), conceived in a shared sense of grief and collective memory rooted in the Pacific Northwest.Ash Souvenir was originally commissioned by and premiered at the 2024 edition of Roadburn Festival in Tilburg, Netherlands. Afterwards, the trio recorded the album at the legendary Unknown studio in Anacortes, Washington.Ash Souvenir confronts grief. During the writing process, Maria and Kyle were both in a painful, transitional period, moving back to the Pacific Northwest to be closer to struggling loved ones. This return home and the emotions it stirred echoed in Noel's own inherited history. Their grandmother escaped occupied Latvia in the 1940s and began a new life in the United States, eventually spending her final 25 years in a hand-built log cabin deep in the woods outside Shelton, Washington. Surrounded by fir and aspen, she lived in quiet self-reliance, her days shaped by isolation and resilience.The album combines Ragana's heavy, emotionally charged metal with Drowse's textural approach to sound. Across four long-form pieces, the trio's voices and instruments move between stark intimacy and overwhelming intensity, culminating in a collective refrain Inchthere is nothing to lose.InchAsh Souvenir is a sublime experience, conjuring both the power of a devastating eruption and the eerie stillness that lingers in it's wake, ashen memories drifting through night air before rejoining the earth.Ragana have carved their niche as pioneers of the Pacific Northwestern queer black metal scene. They have released five albums since their formation in 2012, with 2023's Desolation's Flower as their first fo
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CASSETTE. 2022 . The WAEVE - composed of Blur's Graham Coxon and Rose Elinor Dougall - their eponymous debut album on Transgressive Records. Produced by The WAEVE and James Ford (Arctic Monkeys, Florence & The Machine, Foals, Haim) and recorded in London earlier this year, The WAEVE is a collection of 10 new tracks from songwriters Graham Coxon and Rose Elinor Dougall. Joining creative forces in The WAEVE gave the duo the opportunity to push past their instrumental comfort zones. Many tracks feature Graham on saxophone, one of the first instruments he played as a young musician back in the 80s. First single 'Can I Call You' starts as a ballad then morphs into a krautrock-style motorik number with a sprawling Coxon guitar solo. 'All Along' features Graham on cittern, a medieval folk lute. Rose plays piano and an ARP 2000 modular synth. The heavy weather all over 'The WAEVE' recalls the blustery folk rock of Sandy Denny or John & Beverly Martyn, while tracks such as 'Kill Me Again' and 'Over and Over' recall the 70s rock of Kevin Ayers or Van der Graaf Generator, almost industrial in places.
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