€5.00
NEW! Nearly 30 minutes of that fingersmith action! Chicago's 21st century facemelter Neon Blossom main 'the man', Dan Smith, meets Dublins 18th century fancy boy Dandrew Dogarty.
Produped, c30s - sound samples right here:
Red Electric Rainbow / Reptile Brain C30 Split by munitionsfamily
More: http://redelectricrainbow.tumblr.com/ // http://redelectricrainbow.bandcamp.com/
I'll spare you d'jibberish - here's some reviews:
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Red Electric Rainbow on Altered Zones::
Daniel D. Smith, aka Red Electric Rainbow, has an extensive catalog that spans dozens of cassettes, CD-Rs, and digital releases. Thankfully, Aguirre Records is on the verge of releasing a proper vinyl debut. Recorded using mostly a Nord Lead 2; the album bubbles with textures that lend themselves easily to fans of Oneohtrix, Mist, Outer Space, and the current crop of cosmic travelers traversing the analog plain. Tipped with a bit of loneliness, Dark Days slips into a bittersweet euphoria that's both blissful and yet paralyzingly solitary. Daniel, a fixture in the Chicago/Midwest experimental set, is organized last year's Neon Marshmallow Festival along with Matt Kimmel of Acid Marshmallow video blog. As with the Sean McCann LP, this one will be available soon from Aguirre themselves and stateside shortly from Tomentosa, Aquarius and Mimaroglu. --Andy French, Raven Sings The Blues
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Repetile Brain - Dinosaur review on Brainwashed.com:
The two pieces on the cassette both investigate the variety of tones that can be wrought from analogue synthesizers. The bubbling and racing sounds Fogarty extracts from his synths on side A gives a feeling of traveling at speed through a kaleidoscope. Some of Fogarty’s style is instantly recognizable from his work in Boys of Summer but he expands his palette significantly throughout this and the subsequent piece. Ray guns, radiation, tractor beams, force fields and teleporters: these are the kind of images that come to mind listening to Dinosaur.
Side B is an altogether warmer piece as dozens of balmy loops and layered melodies compete with each other; the mix boiling like a primordial soup during a storm. Suddenly the chaos gives way to a wet, pulsing noise which steadily increases in its intensity. The piece eventually returns to a similar kind of kosmische-influenced sound-scape like on side A.
While Dinosaur does not shift Boys of Summer from the top of my favorite Fogarty-related projects, it does pack enough punch to be a serious contender. Both sides of the tape show enough variation and tonal development to place Reptile Brain beyond the categorization of simple noise. There is more in common here with music from the BBC’s Radiophonic Workshop than with the contemporary noise scene; granted this is not that unusual but Fogarty does it with a lot of class.