[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
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[eh?107]Jaap Blonk
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[eh?105]Patrick Shiroishi / Arturo Ibarra
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Buffets Close Suddenly
[eh?102]Tania Chen & Jon Leidecker
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monument 36
[eh?99]Bill Brovold
Misty Nights
[eh?97]L. Eugene Methe and Megan Siebe
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[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
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[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
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[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
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The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
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[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
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[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
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[eh?37]David Moscovich
Ass Lunch
Four Plus One
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Dirty Realism
[eh?33]Jesse Krakow
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[eh?30]Bryan Day
Four Televisions
Hear Here
Yama Labam A
[eh?27]Shelf Life
[eh?26]Papier Mache
[eh?25]Papier Mache

charles lareau - stasis
C36 (shanghai, china)

side a:
1. aixst00
2. transistor
3. algosphere

1. 0II0I
2. airwaves
3. trajectory


charles lareau - tapes and electronics
recorded in 2021 & 2022 in shanghai, china

(Vital Weekly) On the cassette arm of the Public Eyesore, we find new music from Charles LaReau. We know him as a member of Naturaliste (see Vital Weekly 1270) and his 'Fluxion' release (Vital Weekly 1295). In 2005, he moved to South Korea, then Beijing and now lives in Hangzhou. LaReau has a label called Bluescreen. Already active since the late 1990s, his music uses field recordings, analogue synthesizers and cassettes. On this new cassette, we find six pieces of "recordings/found sounds and various electronics", and three are live recordings. The title 'Stasis' is well chosen, I think. In all of these pieces, there is not a lot of change. It is as if LaReau find a sweet spot in his environment and captured that particular moment. A ventilator shaft in a building, for instance. However, whatever else happens in such a location is not ignored. A door opening, for instance, gives a piece a random approach with, at times, a surprising result. Buzzing and whirring, these sounds appear, perhaps, a bit random and also a bit lo-fi, but these are also highly captivating pieces of music. Because of the level of obscured sounds, it is never easy to figure out what is what here, I have no idea what I am hearing. I don't mind, as long as it sounds fascinating and that it surely does. In all its apparent minimalism, there is a lot to enjoy here. 'Airwaves' is LaReau's noisiest, but that's all relative. 'Trajectory', the final and longest piece on this cassette, is the only piece that may use an instrument. At least, that's what I think. It might be some field recordings being fed through stomp boxes. Fascinating stuff! - Frans de Waard

(Lost in a Sea of Sound) Flipped over countless times, turned around just as many, senses and balance are now asunder. The sounds within Stasis have this effect. A source of continual energy flooding every pour within the mind and body. Caught in a diving suit under pressures equal to lengthy fathoms, a burst of turbulence causes the diver to spin and tumble. As the current subsides, vertical and horizontal bearings have been washed away. Floating in a Stasis of sonic saturation, the world around fades into the blur it always is. We listen and are back within the womb of life's beginnings. Charles Lareau has composed Stasis, a tranquilly blistering absolute beauty of sonic essence. As with many compositions in similar construct to Stasis, this is not a sound piece for any moment. This is specific, these sounds can pacify or agitate depending on the framework of the individual listening. Fortunately, Lost in a Sea of Sound is slow. Stasis has been flipped in the cassette player countless times. The nuances of Stasis and creativity of Charles Lareau speak clearly to this conscious. Something so raw and untamed elicits gorgeous depths. A statement difficult to believe and write upon first listen. But now, easily said and almost not enough. Completely in love with these sounds and wish they could be shared with those around me.... You have to get there though. Stasis is something worked towards and then enjoyed. Charles Lareau has roots with the Bluescreen label form Hangzhou, China and the Foreign Lands label out of Shanghai. These labels gather force with Gertrude Tapes from Omaha, Pittsburgh's Unread Records and Bryan Day's Public Eyesore / eh? label from San Fransisco. Stasis is released on cassette by Public Eyesore / eh? in an unknown edition. Copies are currently available. Have been looking at Charles Lareau's Nature Talks 1-4 on Foreign Lands, a six cassette release foung on discogs. The discog description "Four tape boxset of late night ramblings and observations on existence or the lack thereof with along with situational recordings, film audio snippets, field recordings etc". Seems like this would be pretty darn interesting. Also, Lost in a Sea of Sound had the pleasure to describe Fluxion by Charles Lareau on Gertrude Tapes and an album by Bryan Day, Christopher Fischer, Charles LaReau and L. Eugene Methe titled Naturaliste - Temporary Presence collaborated by the labels mentioned above. Both amazing like Stasis. Happy to be quasi involved by listening and experiencing such stunning sounds. - Ken Lower

(Raised by Cassettes) There is a bit of silence at the beginning of this cassette, so when that first note hits it might give you a jump scare. The distortion comes through in a wall and just obliterates everything around it. Electronics come in now to give this a smooth driving feel before it sounds like a spaceship landing. Like an engine driving, this sound just stays steady now. Sounds somewhat like a lightsaber come through and it just kind of fades out into footsteps. A slow build of more angelic electronics now as it sounds like a cross between a can being opened and a glass bowl. A door creaks open now and everything feels like it is increasing in both intensity and pacing. A bit of back and forth as the alien whirrs come in as well now. A quieter rolling now and individual notes. Everything stops and a certain haunted air comes through now, slowly creeping. As it slows through this haunted room feeling, there is a sound now which is almost like laughing. It feels as if there is some heavy breathing into a microphone before everything goes silent with a whirr and that is how the first side comes to its end. As the whirrs whoosh on the flip side there are also some beeps which make this feel a bit alien- like we are exploring a different planet in search of anything. Someone is speaking, but it is difficult to hear as loud skipping distortion takes over everything. Sharp tones cut through the distortion now and this feels like a spaceship out of control, but you know, like one of those car types that drives on the surface of a planet. We drop down into some louder static now and this just feels like it's designed to blow out your speakers. Some whirrs come through and it feels like we're changing channels before this ominous beat of someone walking where it feels like they're dragging something. It has big vibes of Michael Myers or Leatherface, but then this blissed out tone like the "Masters of the Universe" movie comes through. Through these blissed out tones comes some scraping and then it just intensifies to where it feels like we're shipping off into space but in the most happy way possible. We're creating some nice looping here as it feels like we're drifting further and further into space, with the electronics loud but not as loud as before. You can really hear the guitar blistering through now. The electronics flutter back and forth as this one comes to an end in spectacular fashion. - Joshua Macala

(Disaster Amnesiac) Judging from the tones that he gets on this eh? Records cassette, the sense that Disaster Amnesiac gets is that Hangzhou-based Charles LaReau is a no nonsense kind of guy. He uses tapes and electronics in order to build up long form, granular drone pieces on Stasis, ones that eschew exercises in fanfare. This entire cassette has a mellow, and certainly contemplative feel to it, one that's perfect for use as background to reading or thought processing. It's been rainy and cloudy for the past few days where I sit, and the sounds from Stasis have served as a suitable soundtrack for staring out the window at clouds and puddles and the drops therein. One wonders what electronic devices were utilized for these tracks; whatever they were, they must have been spare, as everything here has a sleek simplicity that would evince an almost complete lack of bells and whistles. No Jazz Hands happening, just a lot of dreamy washes and trills that scroll by within the attentive musical head. Asian Ambient must be a thing already, and Charles LaReau is doing solid work within that presumptive micro-genre. - Mark Pino

(The Wire) Synth player and composer Charles LaReau first gained notice as part of Omaha Nebraska’s Naturaliste (along with L Eugene Methe). He’s done a lot of solo machine work since then under various monikers, and has been based in Asia since 2005. This tape was assembled in Shanghai using found sounds, recycled tapes and electronics. The overall heft makes me think of Michel Henritzi’s old band Dustbreeders. Not because they actually sound at all alike, but LaReau’s music often feels as though it’s being made underneath a blanket of dust. My fave pieces possess propulsive qualities that defy the album’s title, or at least fight hard against its strictures, but my dog seems to prefer the ones that murmur like extraterrestrial ships landing inside his little head. There’s no figuring canine taste! - Byron Coley

(Bad Alchemy) CHARLES LAREAU schuf stasis in Shanghai – im Null-Covid-Lockdown? - mit Tapes & Electronics. Und taucht dabei ein in die 'Algosphere', die Sphäre der Algorith­men, die dabei ist, die Noosphäre, den Mindspace, als ihr Reich einzunehmen. Larue war 1999 – 2005 in Omaha Teil des "Psychedelic junk-folk"-Kollektivs Naturaliste gewesen, bevor es Das Torpedo, wie er sich meist nennt, in Foreign Lands zog, mit Musil, Cages '4:33' und Marx' Gespenstern im geistigen Reisegepäck. Mit auch, wie „Specters“ zeigt, einem Auge für Mark Fishers 'eerie places' und, wie man hier hört, einem Ohr für die Woll­mäuse der Erinnerung. Durch tonbandverrauschte Szenerien einer Low-Fidelity-Klang­landschaft, die nur bei 'airwaves' durch Stimmen und pulsende Rotation noch einen akti­ven industrialen Anstrich hat, und nicht nur wie zuletzt nochmal bei 'trajectory' einen ver­schwommenen Nachhall davon, der dabei ist, zu einer dröhnambienten Musik zu gerinnen. Zuvor aber tönte bei 'transistor' schon nostalgisch verstaubte und bei 'algosphere' zutiefst elegische Musik wie aus dem Haunted Ballroom und Forgotten Dreams von The Care­taker. Das Brausen von '0II0I' trägt vage Fetzen von chinesischer Musik mit sich, wie von einem Tonband, das aus dem Magen eines Haifischs geborgen wurde. - Rigobert Dittmann

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