[eh?123]Eloine + Ypsmael / Coims
[eh?122]John Collins McCormick
Healthy Alternative To Thinking
[eh?121]charles lareau
Box of Black
[eh?118]Jeff Surak
Eris I Dysnomia
[eh?117]Terrie Ex & Jaap Blonk
[eh?116]Erin Demastes
Thing Music
[eh?115]Kal Spelletich
The Blessing of the ZHENGKE ZGA37RG
[eh?113]Tech Riders
For Eternity
[eh?112]Abigail Smith
Indochina Soundscraps
The Realisation That Someone Has Been Stood Behind You Your Entire Life
[eh?110]Johannes Bergmark / Guido Hübner
nisip noaptea
[eh?109]Seeded Plain
Flying Falling
The Furies Inside Me OST
[eh?107]Jaap Blonk
Joyous Junctures
[eh?106]Sindre Bjerga
Hesitation Marks
[eh?105]Patrick Shiroishi / Arturo Ibarra
LA Blues
Atomnye Deti
[eh?103]Seeded Plain
Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
Live In Japan
[eh?101]Cookie Tongue
Orphan Arms
monument 36
[eh?99]Bill Brovold
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
Revisited, Revisited, Revisited
[eh?96]Felipe Araya
[eh?95]Eoin Callery
[eh?93]Bad Jazz
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
[eh?89]Leonard * Day * Jerman
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
[eh?78]Lucky Bone
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
Hammer, Anvil, Stirrup
[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
Live at Dotolim
[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Space Sickness
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
we must leave the warren
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
[eh?43]Man's Last Great Invention
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
Four Plus One
I Manage To Get Out by a Secret Door
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
Hear Here
Yama Labam A
[eh?27]Shelf Life
[eh?26]Papier Mache
[eh?25]Papier Mache

Ypsmael - Box of Black
Cassette (Germany)

Side A:
1. 66
2. Snower
3. Becol
4. Ah, quelqun!

Side B:
5. Rhombus
6. Bob Outro
7. Excerpt
8. Becolune
9. La Ndofo Akaf Terno


Sounds used are guitar, no-input feedback, voice, sipsi, slidewhistle, amplified objects and claves fed into pedals for effects, live loops and textural layering.
All were arranged in rural Baden-Württemberg, Germany in 2021.

(Bad Alchemy) Call me YPSMAEL? Der sich selber auch AeLypsm nennt, ist so schwer zu fassen wie der weiße Wal. Box of Black (eh?120, C45) sei arranged in rural Baden-Württemberg, lese ich da, allerdings führen auch Spuren zur Schweizer WIM, nach Cambridge und zu Bryan Day an der Westcoast. Sounds used are guitar, no-input feedback, voice, sipsi, slidewhistle, amplified objects and claves fed into pedals for effects, live loops and textural layering erscheint daneben als solides Faktum. Sein im Verlauf der vergangenen Dekade als kos­misch, klaustrophobisch, cinematisch, Eno-esk und vom Primordialen ins Urbane schwei­fend beschriebenes, in Burgas und St. Georgen wiederkehrend präsentiertes Sound­scaping entfaltet sich hier nun als zischendes Rauschen und Dröhnen, das zwischen Naturgewalt und industrialem Noise changiert. Schritte, Stimmen und der hohe Lärmpegel der computerlosen Improvisation bleiben im ungemütlichen Bild von Drecksarbeit, drau­ßen bei arschkaltem Wind, drinnen in dumpfen Werkstätten. Ypsmael sublimiert Bohr- und Schleifgeräusche mit glitzernden Lauten, aber wummernde Motorik und Treibriemenrota­tion produzieren weiter die Suggestion eines schwerindustrialen Gorillas in der digitalen Blackbox. Das Ausgelagerte sitzt mit rauem Atem einer melancholischen Blasetondauer­schleife im Nacken. Lethargisch gezupfte Tristesse mischt sich mit dunklem Surren, schlurchig grollendes Beben wellt sich mulmig und wieder glitzernd. Erst 'La Ndofo Akaf Terno On' findet, vor pazifischer Kimmung meditierend, zu sonorer Einkehr. - Rigo Dittmann

(Vital Weekly) When Ypsmael started in the late 00s, the intention was to play only live concerts, but eventually, CDR releases. These contained recordings made at home and in concert. I have no idea who the members are. Early 2014 the Werkstatt für Improvisierte Musik invited the group for a two-day presentation of the Box Of Black, "originally a performance conduit for an unlit room". Just as the information doesn't mention the names of the members, When I first played this cassette, I had no idea what I was hearing; a guitar, some wind instruments, electronics? . The Bandcamp page for this release lists this; "no-input feedback, voice, sipsi, slide whistle, amplified objects and claves fed into pedals for effects, live loops and textural layering." While all of this may sound very much from the world of improvisation, one track more than the other. Hence, it seems, the overall impression I had was that it sounds so different from the traditional areas of improvised music. There is much to be enjoyed for everyone who likes drones, noise and electronics and who stay away from everything connected to improvised music. The rusty electronics, bending backwards and forward, rattling percussion, broken toys and ditto contact microphones make up for the psychedelic affair. This music is rainbow coloured, just like many sound effects they are using. Sometimes they work with amplifying objects, and in fine John Cage tradition, the feedback becomes an integral aspect of the music, which adds great urgency to the music. And then, suddenly, in 'Rhombus', a saxophone appears, out of this abstract mass of sound, forming a moment of (un-) rest in what is otherwise quite a hectic set of sound material; it slips back into wacky droneism right after that. Not the most accessible music, but I found all of this excellent. - Frans de Waard

(Disaster Amnesiac) So during the last phase of Disaster Amnesiac's epic 2021 move, I lost the bio sheet that came with Ypsmael's new eh? Records release Box of Black. It's easy to recall that the sounds on this tape were produced for use within an art installation that utilized a completely dark room. Other than that, most of the details for Box of Black are murky to me. This kind of fits, though, as the music that Ypsmael conjured up for this release keep bringing me back to that word "murky". Things bubble up from the silence and kind of float there, interacting with other sounds in a sonic soup that immerses the perception in ways that I imagine would make for a pretty harrowing journey through a completely dark space. Disaster Amnesiac has had visions of falling through layers of spinning matrices, much like those shots from old psychological horror films from the mid-20th Century, in which the person is spun around and around, going deeper and deeper into the void as that action continues relentlessly. About three tracks in, an insistent rhythm clips out on the track Becol, and while this may give some relief to a listener, it's only enhanced the overall anxiety jam feel for me. It's as if the conveyor belt to the abyss has increased its pace and is pushing even harder at the mind. I guess that it harks back the early waves of Industrial Music production, Death Factory and their fellow travelers, and it still works. Disaster Amnesiac can groove with it in the light of the day, and indeed daylight times are the only times that I've played Box of Black. Honestly I don't even want to know how these sounds would hit me at night! (An aside here: did you know that Jeremy Benthem, consummate rationalist and inventor of the Panopticon, was deathly afraid of being attacked by ghosts at night? Just goes to show ya.....) Getting back to Black, I guess it's not all doom and gloom as the track Rhombus gives off some neat synthesizer brightness for a spell before going dark again and Bob Outro hints at UFO Club-styled psychedelia, but even within these pieces it's tough to shake off the fear vibe, as that murky feeling evoked by the mysterious sound sources is never that far away within them. Again, imagine yourself hearing these sounds and not being able to see what's in front of or behind you..........damn. You have to hand it to Ypsmael, they certainly don't ever lose the thread of the apparent vision for Box of Black. Be brave while you listen to it, and just maybe have a close friend nearby to guide you back to light, should you drift too far into the darkness while doing so. - Mark Pino

(Kathodik) Una buia stanza performativa, commissionata nel 2014 dal WIM di Berna. Per chitarra, no-imput feedback, voce, oggetti, effetti, live loops e parecchio altro, no computer. Parti dell’originale performance poi macinate, ideuzze tralasciate e bozzetti preliminari. Cupezze ambientali dove l’inatteso e benvenuto, distensioni cigolanti quasi astral-kraut (Ah, quelqunt!), inquiete sospensioni (Rhombus), desertiche sabbie post-Eno (Excerpt), sfinimenti in congelata fluttuazione (La Ndofo Akaf Terno On). - Marco Carcasi

(Tabs Out) Box of Black by Ypsmael is really well-crafted, modern noisy experimental electronic music with ambient touches in parts that encapsulates a lot of the newer digital aesthetics as well as the abstract. Wails of guitar-as-sound-source approach that sometimes lend themselves to melodic phrasings or repetition, but abruptly cut off. Other songs give an electro acoustic dissonance that sustains tension within bursts of high end feedback sends. Microphones shake… Four track sliding fuckery of odd popping and rubbing sounds with what sounds like low level voltage stabs under the slowly building layers… The layering in parts is what sustains the tension and fills negative space while not filling them up entirely as a whole. Muffled voices in the background… Moaning organ sounds against tuned water droplets in a lake or a vast cavern… The Box of Black shines in the dark, glows with dark messages from other chaotic realms. Different zones get mined throughout a single tape. Available from Public Eyesore Records who says “Sounds used are guitar, no-input feedback, voice, sipsi, slidewhistle, amplified objects and claves fed into pedals for effects, live loops and textural layering. All were arranged in rural Baden-Württemberg in 2021.” - Jacob DeRaadt

(Sands-Zine) Se permettete la correzione di un refuso vi posso assicurare che Jeff Surak non è tedesco, come ho scritto sopra, ma statunitense di Washington, DC, e ha alle spalle un’intensa attività in solitudine, in collaborazione con altri musicisti e in vari gruppi. Ypsmael, invece, è effettivamente tedesco e anche lui, seppur più limitata, ha già svolto una discreta attività. Anche Ypsmael, come Surak, è un artista che fa del paesaggismo sonoro, però molto più orientato verso l’utilizzo di strumenti tradizionali come la chitarra, dei quali impiega soprattutto i feedback, di tutta una serie di oggetti amplificati, di effetti di varia tipo, di loop e di una voce che, quando c’è, è quasi sempre un mormorio sommerso o un vocalizzo allucinato. Al top il ripetitivo Ah, quelqu’un! che, inquietante e accattivante allo stesso tempo, è un brano semplicemente magistrale sia per la sua strutturazione sia per la qualità e l’originalità dei suoni utilizzati. E, comunque, è nel suo insieme che la cassetta convince, con la sua miscela fatta di suoni malati e dilatati, per una psichedelia di stampo futurista. - Mario Biserni

(Raised by Cassettes) Through a lot of sharpness and distortion, this cassette opens up sounding like a swarm of bees is ready to attack. Words can be heard spoken behind the chaos and it all feels quite dark, like a mystical scene out of a movie from the 1990's. It all swerves in and out like a static panic. Through all of this harsh static I managed to hear sirens outside and I had to take a moment to make sure they were in fact not part of the song. We calm down and start with a ringing type of sound, someone is speaking and it just gives away the idea of being in space from the start. It turns into a slower, more robotic sounding type of distortion now- as if the static is crushing. In between songs seems to be the only time it gets calm as we come back into the next song with this modem-drone sound with sharpness breaking through. This sound just feels as if a sharpness is leaking through. It sounds like chains are dragging now, but in a locomotive rhythm and with alien whirrs behind them. On the flip side that static now comes through in waves with horns blasting here and there with them. Higher pitched tones come through now, as if in awe, but it also has this guitar driven way about it. There is also a slightly haunted sound within this all. These sounds all come together too now and feel a little bit like slow traffic. Through the darkness now comes thr plucking of strings in this Old Western sounding way for sure. Words can be heard hidden in the back of this all as well. Distortion flows through haunted whooshes and this feels much like we are caught up in a storm now. A hollow glass tone comes through now as a drone. It has taken on a much quieter, ambient way now. Waves are in and out as soft tones drop. This all still feels a bit eerie and then the vocals behind it all have returned. Sharpness is coming through again, like feedback in a way which might hurt the ears, but it still all feels so distant and haunted. This is how it fades out, maintaining that sense of ambient drone mixed with haunted textures. - Joshua Macala

(Sound Projector)Box of Black (EH?120) is credited to Ypsmael, something of a mystery figure who has been operating for around the last 12-14 years, mostly making live appearances and sporadically issuing a few self-releases and CDRs for selling on tour…they also go by many alias names, each of which happens to be an anagram of the word Ypsmael. Their real name is not widely known and they don’t even consider themselves to be a musician, preferring the term “experimental music conduit”. It seems that Box Of Black is the only “official” release after this bout of self-publishing, and it comprises a selection from live events which happened between 2012 and 2018 in the UK and Europe. The fellow certainly has an intriguing method, for the most part eschewing computers in his work; he hasn’t managed to exclude digital tech from his set-up completely, but it seems the focus is on analogue and handmade devices. At any rate, he’s very interested in glitch, noise, and any imperfections resulting from the recording process, as well as exploiting things like “room tone”, something which is very evident in all these pieces; you can really feel the enclosure of the small spaces where these performances were realised. I’ve found myself most engaged – and also alarmed – by the long track here, ‘Ah, quelqu’un!’, which is quite effective in building up a tense atmosphere, full of increasingly clogged-up sounds and a certain remorseless forward-movement in their deployment. In doing this, Ypsmael stops short of producing old-fashioned “noise”, and remains true to exploring the grains and textures of his materials; it’s that genius in the build-up that he’s aiming at, producing a very strong cumulative effect through sheer persistence, and letting the materials and processes speak for themselves. Even so, I’m left with the feeling that I want him to go a lot further with his explorations, and really start testing the limits of the spaces he’s intent on probing, working his objects so hard that they almost break. If he could do that, I think he has the potential to create a very distinctive language of his own. Promising. - Ed Pinsent

(KFJC) Let’s start with the boilerplate: ‘What is Ypsmael? A shadowy figure creating analog, experimental electronic music, mostly noise with ambient touches. Their real name is not known and they don’t consider themselves a musician. They apparently hide out in Baden-Wurttemberg and as such seem to display a stereotypical German “coolness’, not hip but cold, free of emotion.’ This cassette release comprises 9 compositions consisting of low-intensity soundscapes. There are oscillations and subtle rhythmic patterns. There are horn-like sounds creating slow dirgelike movements. Perhaps a soundtrack to lull a commercial building’s mechanical room to sleep? For what it is it’s kind of relaxing. The robots in your life will love it! - Albion Moonlight

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