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From http://digestblog.blogspot.com/ -

Regosphere / Content Nullity - Claws Of The Witch - Split Tape - DumpsterScore

Dumpster Score Home Recordings has hand crafted a slick looking release here. Glossy, purple hued cover art features some sort of monolithic brick archway structure. Fitting, it seems to evoke the feelings of solace and time worn refection that the tracks themselves arouse. Vellum strip and purple lyric sheet w/ contrasted lo res performance photos add a nice touch of class to the package.

Regosphere side contains coagulated synths stewing in swelling bass cavities, lurking in the bowels of Morpheus. Mood-stabilizing fog of blown low-drone wavering modulated flutters of creepy newly sharpened automated industrial torture probes. Clear electronic haze attacks your senses. Distorted lightning in stereo. Expertly placed hillbilly rant about how ...God doesn't hate the sinner, he hates the sin... The death-industrial force is strong with this one. Just about all the bells and whistles are right here. On this tape. From 2011.

Content Nullity lays out a couple surrealistic composed dark-industrial tracks with some straight-up PE vocals plastered right on top. The tracks compositions are strong. Numbing midriff-fuzz drones blend with loop layers of rhythmic bleak synth. Constantly building. Turning up the heat. The vocals reign over this with an assertive underwater raspy-robot decepticon sound. A little hot in the mix, but I pay no mind. Typical syllabic PE vocal pace and delivery. Climax and the deconstructive break-down. 2nd track is unreal. Sounds so good in my ears. Could play this all day. Has a catchy loop-tape feel. Fluid melody and static-saturated bass shadow walks you slowly to your grave. This time the vocals creep in like an angelic choir lost in its own forest of loop-delay & endless decay.

From crucialblast.net -

Regosphere - Gutter Swarm - Phage Tapes

Recorded in conjunction with a 2010 tour, Gutter Swarm is one of the first offerings from this malevolent industrial project, issued on Phage in a chunky vinyl cassette box. While this newer noise outfit comes out of the American heartland, the diseased sounds that are on display on Gutter Swarm are wholly informed by the morbid electronics of classic European industrial, particularly the sounds of artists like Maurizio Bianchi, Mauthausen Orchestra, Atrax Morgue, and early Megaptera; seeing those influences being cited by the band, I knew this was probably going to be my kind of slime.

Andrew Quitter is the guy behind Regosphere, and he does avoid being just another retro-death-industrial homage. By adding some very unnerving field recordings and instrumental elements to the tracks, Quitter creates a thick layer of urban unease that hangs heavy over these tracks. Regosphere's unsettling noisescapes are formed out of minimal waves of buzzing static layered on top of pulsating obsidian drones and threatening electrical currents, fluttering synth tones and crumbling walls of blackened distortion, metallic creaks and chirps sculpted into eerie drones, the looped whine of sirens, recordings of birds, crushing looped machine-noise. The first several tracks are more experimental, drone-based pieces, with lots of looping sounds and random room ambience and mysterious environmental sounds. It's not until the last song on the a-side "Monochrome Existence' that Quitter blasts a crushing rhythmic industrial dirge with ultra-distorted evil vocals, finishing off the side in a grey haze of abject nihilism.

The b-side is harsher stuff across the board. On "Social Restraint", Quitter splatters a rockslide of chunky distorted noise and low-end hum with high frequency chirping and currents of electrical power. A torrential roar of static is at the psychedelic, wall-like foundation of "Overwhelmed", where the ghostly traces of doomed chords drifting out of a piano are swallowed by the maelstrom, which does eventually peel back only to reveal cancerous pulsations of black bass and the smoke-spewing innards of an infernal engine. It's not until the very last track, 'Grey Winter", where things calm down, the noise is washed out and replaced with an icy field of soft crackling hiss, ominous piano notes echoing through the desolate twilight atmosphere, stray snatches of voices and random percussive sounds swirling in clouds of delay, closing the tape out in fine gloomy manner.

There’s a lot of variety in Regosphere's layered compositions even as it stays true to the death industrial aesthetic, a pulsating black organ at the center of each soundscape. Limited to one hundred copies, packaged in a vinyl case with a silk-screened cover and a full-color insert.

From http://existest.org

Regosphere / Vexations - Split Tape - Horse Worship -

Regosphere is a name that is constantly gaining momentum in the noise scene. With dense and apprehensive death industrial work and harshness that is never overdone, the self coined term of “anxiety electronics” is a considerably accurate one. Vexations is a project that I’m not particularly familiar with but this project’s side is an excellent pairing with Regosphere’s sounds.

The Regosphere side, titled “Heat Lightning (Waiting For Blood To Boil), is a constant buildup of anxious atmospheres and weird synth sounds. Industrial loops push the track forward to its crunching, harsh noise finale. The sound here is strangely warm but still quite hostile; the enveloping nature of it all creates an atmosphere of discomfort and uneasiness. The loops eventually devolve into clanking industrial sections that then devolve into straight harsh noise but the track as a whole is very detailed and composition oriented. One can get lost in the atmosphere or pick out the individual sounds; they all play of one another excellently.

The Vexations side consists of a more melodic, dronelike sound. A synth loop dominates the track and almost sounds like The Knife gone straight experimental. The tones are heavy and wash between clean and distorted but overall are very subdued and drone oriented. Entrancing tone patterns are backed by bassy rumbles and provides a great juxtaposition to the Regosphere side.

These artists are very well paired, making this split an essential one for fans of Regosphere and otherwise.

By Andrew McIntosh -

Regosphere - Like Surgical Steel - Husk Records -

Not quite “dead” enough to be Death Industrial, certainly not flamboyant enough to be Harsh Noise, in a time when sub-sub-sub categories rule Regosphere sits uneasily. Here, though, Andrew Quitter does lean more to the former than usual. This album, released for a US tour, features the title track, a one-sitting home recording without overdubs of material played live on the tour. The theme of the album being the now legendary BP oil spill in the Gulf Of Mexico. The titular track on side one blending carefully modulated hissing layers of white noise with slow pulsing synth tracks together before relaxing down, then building up again to the sounds of more synth pulses and background siren sounds, which themselves fade out to make room for a soft, clunking metallic rhythm and yet more hissing, grainy static. It's the second part of this I think works the best; the first part is evocative but the second works more aesthetically. Throughout the whole, though, there is a precise pacing and a nice, relaxed under-use of sounds as opposed to flogging things to death. In fact, it sounds very much like a live piece, in that the various elements are introduced, used and then faded out more robustly then one normally would with the luxury of time at home. However it's not cluttered with a million ideas, rather it's a specific, conceptual spiral. Side two continues the imagery with “Bottom Kill”, based on sickly sounding synth pulses and muggy rushing sounds which are difficult to determine; the mix is somewhat more one dimensional but the end effect is more psychedelic and suggestive, yet more immediate. To me it sounds more like a prehistoric swamp than a modern ocean floor ruined by crude oil. It's a somewhat hypnotic listen. The rhythmic pulsing of the static sounds, which suggest shortwave radio rather than synth white noises, come in later in the track after their sedimental surrounding of the whole. A more defined keyboard chord heralds “Tar On The Beach”, a sinister, movie-soundtrack anti-melody backing the scratching hiss and odd chiming sound that all feels covered with a mucky film of scum. The rushing ocean sound is dominant here. The distracting, psychedelic hypnotism of the former piece is carried on here. Both these spirals have an odd “not quite there” quality which, if listened to softly in the right light, could well replace drugs.

From heathenharvest.org -

Regosphere - Gutter Swarm - Phage Tapes

Side A of this cassette is a mere sear upon the ear. Side B is much more cryptic, a much more post-apocalyptic painting. The noise is much more vivid, more faceted and is carried by or carries more desolate undercurrents. The second side is more baneful because it is less Harsh and more Noise, the frequencies more exquisite. The tape as a whole is hefty in its own right, from a half hour of your standard, faintly distinct blasts, to another half an hour that is a slower, more gradual decline into nothingness.

This Regosphere (US) cassette comes in an oversized, almost HVS style/sized box, making me pine for the nineties, something which was not alleviated by the picture of a military graveyard on the front of the inner liner note sheet. Now, this picture is about as exciting to look at as the cover for some PAC people’s propaganda, but there are words in the inner fold of this paper that made side two even more meaningful, other than just being the side that sounds more exciting. Under the title “Overwhelmed”, with a side note of its live creation one Halloween night, are lines not limited to:

“Try so hard to find a simple life,

Watch him pick the shit from his feet

I think it’s time to return to sleep

Choking on my thoughts

Forgotten by the ghost in my life”

This hit home with me. It can easily resonate with many of us.

After “Overwhelmed” comes “Grey Winter”. This final work is great because of the use of a grand piano. Very unexpected in a release of this sort, but it only offers at hints of music, there seem to be melodies that are not really there. That makes it not only ghostly in sound, but in principle. An unclean track just like the rest, only this is the one with the most staid nature embedded in it. Adequate follow-up to the dreary, true to life poetry that proceeded it. Then the “music” stops with the tape, and you are left to face your own.

Rating: 3/5

From auxiliaryout.blogspot.com -

Regosphere / Extraordinary Pigeons - Split Tape -

Northwest cassette team-up between Seattle trio Extraordinary Pigeons and Portland's Regosphere.

In addition, to graphic noise experiments the ExtraPigeons can deliver some real nice, brooding all-acoustic drone pieces, as they do here. It reminds me a smidge of those good ol' days when GHQ was ruling the blogs and Soulseek. Despite the acoustic clue, I'm not exactly sure what instruments are in play here, they all sound pretty otherworldly my guess is they are probably more out-of-the-box than "guitar & viola" or something. Maybe some bowed cymbals? There's something super deep and dense, I don't know, bowed timpani? Is that even possible? Either way, it's a pretty sweet caveman meditation, plenty of smoke from the fire pit and some hallucinations to go along. After the eerie environment has been pretty well established, a guitar provides a few plucked notes that even resemble a melody. It mingles with the spirit voices for while before an ultimate ascension to a new realm.

Regosphere a.k.a. Andrew Quitter is a name I feel like I've heard around for years but this is my first experience with his sounds. I think he runs Dumpster Score records but I'm not positive about that. The material on this tape was recorded with analog synthesizers and shortwave radio although it's not a cosmic journey of synthpads and static messages intercepted from other planets. This is noise motherfuckers. From the get-go, Regosphere grinds like a stalled jet engine. Turning over relentlessly. After establishing the thump-thud-thump-thud dynamic, Quitter takes things up a notch with some analog freakouts and alarm clock/telephone ring bleats and then cakes on the static like he's pouring concrete. Every so often there's a hint of melody buried 50 feet below but you gotta listen for it. Instantly grabbing your attention, the second track is even more aggressive with some pissed off insect leading the charge. It chugs and chugs with a perversely hypnotic rhythm. Nice!

From http://blog.bixobal.com -

Regosphere / Vexations - Split Tape - Horse Worship -

This split sees the recent analog synth / new age revival strained through industrial eyes. The synths bubble and arpeggiate, but in a harsh way. This gives it a musicality and progression that is shy of harsh noise without giving up the intense edge. Regosphere lean toward this noisier side more than the Vexations do and lay down a bleaker atmosphere with more distortion and tighter repetitions of sound. Vexation is blown out but oddly uplifting, sounding like it could be the soundtrack for a bootlegged outtake from the film "Blade Runner". Although I enjoy the cassette overall, it is the Vexations side which stands out for me with its darkly sci-fi sound which almost suggests destroyed futurist cities that retain some majestic beauty. Both projects are one man outfits, the former being Andy Quitter from the Midwest, and the latter Levi Berner of Portland, OR. Levi is the one behind this label and it is nice to see him putting out recordings again after a period of only focusing on live performance. Like some of the other releases on his new label, this comes with two nested double-sided j-cards with b&w imagery. Unfortunately the edition of 60 was already sold out before I got around to writing this review, but thankfully the music is still available as a free download from soundcloud.

From devdformats.blogspot.com -

gutter swarm
Phage Tapes

Regosphere was a total surprise. I didn't know what to expect but, to be honest, the name kinda through me off. I thought it might be wacky junk noise or even vaguely dancey noise type stuff with a name like that. Now that i know what Regosphere sounds like it makes a lot more sense. Imagine Blue Sabbath Black Cheer meets Josh Lay. Heavy, noisy and dark but with a less doomy sound than BSBC but heavier on the vocals. The vocals on this release pierce and break up both the noise walls and subtle melodies throughout. This release is apparently the second in a trilogy called the "swarm trilogy"; dealing with suicide. It's a serious full length; seven tracks over two sides that show a wide range of audio dynamics. Well worth picking up. Packaged in an oversized box with a full color insert. Beautiful work from Phage Tapes.

From http://petriblog.wordpress.com -

Regosphere - Like Surgical Steel - Husk Records -

This recording is from 2010, also. I had it on repeat for a month or so just after I got it, because I was impressed with the skill and care put into composing the captivating atmosphere of the mix. Andrew Quitter has been recording for more than 14 years, and it shows. He runs a label called Dumpsterscore, which has put out a lot of dark industrial electronics and noise recordings since its inception in 2003. From the limited amount of recordings I’ve heard of his Regosphere project and what he has posted on Bandcamp under his own name I can see that he has a great intuition about putting sounds together thoughtfully to evoke what he intends to evoke. The atmosphere of this tape is akin to some recordings I have from an artist by the name of Minoy, who was prolific in the 80's cassette scene. Fantastic stuff. On this tape there is an abundance of wobbling white noise, field recordings of metals, what sounds like flanger feedback (but could also be synthesizer), and in the notes vocals are mentioned but I never could distinguish any voice out of the din. Andrew likes pedals. Sometimes a voice heavily effected with pedals can produce odd sounds that by other means would not happen. The clanking metals with a natural reverb from the site where the field recordings were taken work well, adding to the mood rather than sounding superfluous. On a couple of these pieces there are unnerving low or high end alarm-like synthesizer sounds, which work alternately to add detail to the 3-dimensional vibrations of The Fear, or paranoia, or The Grim Absence of Hope. The sounds are varied and the mix is always changing, which makes this recording expressive and interesting to listen to.

The darkness and texture of ‘industrial electronics’ on this tape articulate for me the bitterness incurred by being subject to the many symptoms of the crumbling societies of this Earth. This kind of feeling is what catapulted me head first into a much deeper appreciation of industrial music at first listen to Throbbing Gristle’s live performance at Veteran’s Auditorium, Los Angeles, May 22nd 1981. About 7 minutes into the set, with a rhythm and a bed of noises, Genesis begins a repeating vocal line that sounds like “wuh-buh-buh-buh”. The distortion of the vocals is brain bending. The inanity is horrifying and revelatory. It said to me, “Yes, this world is in fact as screwed up as you’ve thought, and way more…” – but somehow it was sort of beautiful. It made me see more details, feel more depth, show me totally new angles, which from an early age was what I thought the word ‘psychedelic’ was supposed to mean. I find a fair portion of industrial music to be more psychedelic than a lot of music popularly regarded as psychedelic. Maybe this perspective is largely product of growing up in the time that I grew up.

There’s a movie that came out a few years ago, called “Sunshine”, which at its ending depicts a character in a giant chamber which is covered on all surfaces with atomic bombs. The bombs go off as the ship containing the chamber is crashing into the sun. The character watches in awe as the flames and explosions happen all around him. With the music of this scene (too sweet…too sentimental…) removed I would make a bit of a comparison of the feelings evoked by these images to the feelings Throbbing Gristle evoked in me. It’s horrible chaos, but it’s unthinkably just-as-it-must-be.

Industrial culture has a lot of touchpoints, and I believe that a lot of them, especially in the more sample-laden music, are like disco mirror balls that reflect many other touchpoints. Of course what I’ve taken from ‘Like Surgical Steel’ is not certain to be what Andrew intended or what anybody else got from it. Having experienced a lot of the dark feelings typified by industrial music myself, I identify with this music at times perhaps more strongly than I would like to. I have more of an idealistic nature and often wish for things to be much more hopeful than they actually are. Often, though, I find a comfort in identifying with bleaker aesthetics such as this tape to vindicate anger. Other times I just like the sounds and textures. Regosphere is aptly skilled to satisfy both of these needs.

From http://existest.org

Regosphere / Extraordinary Pigeons - Split Tape -

Here’s yet another great release from Regosphere this time splitting things up with the unfortunately named Extraordinary Pigeons. The latter of which I am not familiar with, yet Regosphere has been churning out some impressive material as of late and this tape delivers just as well as his previous material and is a good pairing of artists that while not too similar, are quite complimentary.

Extraordinary Pigeons is up first with the long drone track entitled Spirits of the Ice Forest. It’s a rather typical track but provides a consistent atmosphere that is comforting to hear. These are icy cold metallic drones that stay quite persistent throughout the composition. About mid-way into the piece an acoustic guitar joins in but somehow they succeed in having it mesh together tactfully.

Regosphere really rips it up here, kicking things off with the noisier Nervous Reaction which is a churning death-noise assault. The track slowly evolves from noise into synth drones stopping just short of where the following track entitled Analog Swamp (Born in Slime) picks up. There is actually a pause as these are two separate tracks but the sound design leading one into the other, the similarities make for a great segue.

Definitely a solid tape, I also dig the artwork although I’m not sure how well it represents the dark sounds here, but the printing is top-notch and I got a purple tape which I thought was kinda cool. Great release and a pairing of artists who show an effort and craft for their sound.

By Andrew McIntosh

Regosphere / Compoundead - Split Tape - Sincope

First release for Sincope, it seems, in a limited edition of the rather arbitrary number of fourty three (how do people come up with these figures)? Regosphere sounds even murkier on this release, the piece “Socialised Into Extinction” like some bizarre landscape of humming drones, gritting buzzing, regular soft spurts of white sound, everything oozing and melting into each other. The composure is slow and hypnotic; I swear Quitter is trying to alter perceptions here. The vocals, though; I'm not convinced they're a good idea. Harshly distorted, they are like blots of pure black on the melded colours of the landscape. It's not that they don't fit or don't work, but I just personally would have preferred the sounds without them. They sound too “PE” over a piece that just doesn't fit into the PE norms, although comparisons with The Grey Wolves slower, darker pieces could be apt. The sounds change after a while to something like a church bell looped in the background with electronic sounds lacing it subtly, and here the harsh barking of the heavily effected voice does seem to fit better. And still the overall head-heavy sensation of being on some kind of drug pervades and prevails.

My first experience with Compoundead on side two and the selected piece could not have complimented side one any better. “Bleeding on The Carpet” seems sparser, with dark, echoed thuds and a rising, grimey electronic tone that grinds slowly throughout. It's a well chosen sound, modulating slowly as layers become more apparent, a mood of rising anxiety maintained with the minimalist composition and tone. A higher tone of pure feedback added at some point, like a distant alarm, raising the anxious mood even more, which then becomes dominant like tinnitus. It's a simple formula made very effective by the right choice of sounds. Is this Compoundead's usual form? I'll be seeking out more of their work if so.

From http://existest.org

Regosphere - Gutter Swarm - Phage Tapes

Regosphere is a name which is quickly making it’s way to one of my current favorite active noise projects. If you’re not in the loop quite yet, Regosphere is Andrew Quitter the man behind the rising label DumpsterScore Home Recordings. Regosphere takes queues from such epic acts as Megaptera, …Today I’m Dead, and Atrax Morgue to form intensely layered washes of industrial noise.

Gutter Swarm is the first solo album I’ve heard from the project and let me say it is jam packed with #1 top charted hits galore. What I have here is apparently the “2010 Summer Tour Edition” so it may not be too late to get your grimy ‘lil mits on this one. Take the opener which is also the title track and be lulled by it’s brutal electrical zapping tones combined with glassy drones. “Kidnapped” then takes us into the seedy underworld of vacant hvac units, humming street ambience and spooky back alleys. Finally “Place to Go?” brings out the rhythmic industrial with a throbbing burst of what could be amplified 60 cycle hums and low vocals. After a short field recorded intro “Monochrome Existence” mixes synth stabs with heavily distorted tortured vocals and blasts of thick noise lurking in the distance.

Side B presents “Social Restraint” which is a buzzing, shuffling collage of fuzzed out synth hiss, snapping noise tendrils and underrated drones. “Overwhelmed” is a long track of slowly morphing delayed feedback that – on the surface feels like standard fair – but it’s an exercise in minimalism that lulls me into a hypnotic state and prepares me for the more detailed industrial noise and floating ambient piano layers of “Grey Winter”.

The great thing about Gutter Swarm isn’t really in any one track, but in the variety of different tones and sounds presented in each and every one. They are obviously all parts of the same story and fit together well as an album, but they are separated enough by sound and vision to enable them to bring the listener into each little detail that makes them unique, and depraved. In Gutter Swarm Regosphere adeptly shows us how many shades of gray there really are.

Overall a sick release taking influences from some of my favorite acts but also adding something new and improving on a classic death industrial sound. This is American death industrial rising, and with the quality that both Regosphere and DumpsterScore Recordings have to offer I’m thankful it’s coming from Quitter’s careful hands.

From hollowearthradio.org -

Regosphere / Extraordinary Pigeons - Split Tape -

This year Extraordinary Pigeons and Regosphere released a split on cassette. The album starts off with a long drone track called Spirits of the Ice Forest which is haunting and beautiful. It places you right in ice forest and then segues into acoustic guitar. This is followed by a noisier track Nervous Reaction which gets real interesting about half way through until you finally feel the nervous breakdown. I’ve seen Extraordinary Pigeons and their member Jason Young’s project, Red Squirrels, many times and have always enjoyed their work. This is my first encounter with Regosphere and I definitely want to check out more of his stuff.

From http://holidaysreview.wordpress.com/ -

Regosphere / Nick Hoffman - Honeymoon - Split 3" CD-R - DumpsterScore Home Recordings -

It’s when a release like this comes along that I can reminded once more that life in the midwest isn’t all that bad. Being my first introduction to both artists, it’s certainly one that leaves me wanting more from both.

Both artists offer up track(s) that are fairly quiet and eerie- like that of a slow, brink of death- from their own perspectives. The first track from Regosphere, “…As A Coffin Nail” lends itself just as that- like putting the last nail in a coffin- starting off slow moving with metal clatter that goes in full effect at the end. His lengthier track, “Gravity of Galatea” is rhythmic, giving cold, minimal synth lines topped with what sounds like indecipherable whispering/breathing that is awfully creepy, and goes on just long enough to question your sanity.

Hoffman’s track, “I’ll be the Doctor”, is rhythmic as well, layering dark and desperate trumpet echos that play slowly and alterations. The release notes it as being recorded “In A Cold Room”- whether that be an actual place, or a genuine cold room- it certainly goes without saying. Both Regosphere and Hoffman do a good job of providing tracks that compliment each other by giving the same feelings of dark uncertainty.

It should be noted that as I’m writing this, it’s said that there is only several copies of this 3" CDR left, and being limited to only 25 copies, it’ll be no wonder why it’s gone so quickly. While I may be in the minority with my unfamiliarity with both artists’ music, this definitely gave a great first impression, and I would recommend it to everyone. It seems like it could be an excellent gateway drug to what appears to be lengthy catalogs of releases from both these guys. Get it!

From http://existest.org

Regosphere / Content Nullity - Claws Of The Witch - Split Tape - DumpsterScore Home Recordings -

Claws of the Witch is an excellent split between two great up-and-coming artists. Both represent solid compositions of death industrial power electronics with a more atmospheric edge. The pairing of Regosphere and Content Nullity is a good one and makes for a coherent welding of styles.

Regosphere is up first with two forlorn death industrial tracks. The tracks feature thick beds of synthesized sounds, slow and plodding with rhythmic pulses of heated frequencies. I really dig Regosphere’s style in general, it’s sparse yet compelling. Not flooding the space with too much which really lets each element stand out. The first track almost perfectly sums up the sound with it’s title Like Maggots We Squirm. The second track My Sins (Are My Own) is a bit more elaborate featuring a spoken sample of some far-right evangelist followed by a whitewashed vocal attack. Both tracks featuring a thick swarm of droning synths to back things up.

Content Nullity’s tracks have much more defined movements while at the same time sharing a lot of similar characteristics with what Regosphere has presented. Once again, droning synth, noisy yet harmonic and plodding industrial rhythms. I have to say both tracks here are very strong with the first In The Throes of Her Abhorrence featuring some really exemplary synth work. Melting pitches seem to die, while scathing PE vocals emulsify what little is left of their remains. I can sense a huge NTT influence but Content Nullity really does that influence justice while also adding an edge of originality.

This is a very strong split tape and recommended for any fan of death industrial and power electronics. If this is where the new school is heading I can fully get behind it. Everything is consistent from the artwork, the pairing of the projects, the sounds, the compositional techniques and the style. The production is crisp and clean and falls upon my neck like a well-greased guillotine. File this under mandatory listening.

From http://existest.org

Regosphere / Medroxy Progesterone Acetate - Split Tape - DumpsterScore Home Recordings -

Here’s a great split from these two artists who are both new to me. The tape is nicely packaged on some off-white paper stock with clear black print. It’s simple and effective and looks quite classy right off the bat. Each artist has one side with Medroxy Progesterone Acetate kicking things off on side A.

MPA’s track – entitled “Scum of the Morning Star” – is a noisy drone fest that makes up all of side A. Screeching synths, shiny wails of feedback, incessant buzzing and airy noise all work together to make this an ecstatic assault on the senses. There are strange delayed creaking sounds that work into the mix, as well as some building buzzing and screeching that become a bit overbearing at times but they tend to drop off just shortly after they have worn out there welcome. Once they drop out, the other more interesting layers are brought to light letting the listener focus on the more subtle characteristics of what MPA has going on here.

Regosphere takes on side B with some excellent droning ambient noise, not too unlike MPA’s sound. This time divided into 4 tracks and utilizing some field samples. Very apparent in the opener “Trash Picker” is his use of crow sounds, which as the only organic samples here blend in disturbingly well. The thick set of drones evolve effectively and the fullness of the spectrum is very refreshing. “Foothills” continues with yet another great wall of noisy drones this time joined by some rhythmic machinery sounds very much reminded me of older, rawer Megaptera. I am really digging on it. “Prefabricated Revolution” ups the ante even more with intense humming drones, and rhythmic synth surges which eventually builds into a noisier wall. Finally, as a “come down” track “Walking” takes some field samples and blends them into a creepy melody to create a hypnotic dirge that concludes side B effectively.

I’m really loving this tape on many levels. The simple, consistent design, the solid and detailed tracks, the variety in sounds, the enigmatic concepts and tongue-in-cheek artwork make this a great little package. In addition it’s a fantastic first exposure to these two artists. Unfortunately this tape is long gone so you won’t be finding it at Dumpsterscore’s website but if you can search it out elsewhere I heartily recommend it. Great work!

From http://existest.org

Andrew Quitter - Floaters Original Soundtrack - DumpsterScore Home Recordings -

Andrew Quitter is the man behind Dumpsterscore Home Recordings and the heavy synth drone project Regosphere. Quitter is a quickly rising up-and-comer in the international noise scene having released some excellent recordings as well a large amount of split releases with the likes of Content Nullity and Extraordinary Pigeons. He is clearly one step ahead of me having already released another new album under his own name entitled..

Here he is though, releasing music under his own name and it seems to differ slightly in that these tracks come off as less aggressive and more “musical” although still dwelling in the realm of experimental electronic music. This release is quite epic, with some absolute great moments and it prompted me to look up the film itself, which can be seen here. I was thinking seeing the film would add some context to the soundtrack, but I think in fact, it is the other way around. The soundtrack has so much more depth and expression than the more concrete images that the film provides. The soundtrack expands on the themes, elaborates on each passage and fully explores the concepts in the film, where the film itself only seems to scratch the surface.

Stylistically this is pretty unique stuff, I can’t really compare it to much – perhaps Dieter Muh comes to mind. But Quitter mixes things up quite well and among the heavy alternating, quasi rhythmic synthesizer compositions are some great shorter tracks like Insect Debris, Paranoia, and Refractive Index which feature some excellent musique concrete sound design.

The sparse melodies that grace the disc are notable too, the melancholy electronica of End Credits (Theme Reprise) are notably the most musical part. But Quitter manages to reach pinnacles a few times throughout the album, one particular spot that jumped out at me is about ? of the way through Macular Degeneration where epic synth pads and light noise swells rise to the forefront.

Regosphere fan’s don’t need to worry though as there is plenty of industrial-tinged and abstract elements here to satiate you. Perhaps the only moment when an actual drum machine is presented is in Vestron – Get in My Hearse (Dub Mix) but it’s accompanied by creepy overtones. Overall an excellent addition to Quitter’s body of work and shows he is not just talented in noise/industrial but also in this more conceptual type work.

By Andrew McIntosh:

REGOSPHERE/CONTENT NULLITY, Claws Of The Witch, cassette, Dumpsterscore Home Recordings, 2011

Say what you will about Facebook, it was certainly effective in getting me interested in this release by following the to-and-fro between Mr Quitter and Mr Reynolds regarding the release, without even trying to make a hype of it. A lot of work has gone into this release and knowing that, I find, does assist with listening.

Side one is Regosphere's. Beginning with "Like Maggots We Squirm", dark, swirling synth-drones and dark, waving synth hiss elegantly put together to form a kind of dark Industrial sounding spiral that acts almost as an introduction but also works as it's own piece. It leans closely to Death Industrial but with that special kind of doomy psychedelica that Regosphere can manage so well. Very simple, but it's composition pulls it all together and manages to ooze forth the intended mood. It is well complemented by "My Sins Are My Own" - like the previous, having an almost traditional Death Industrial sound, particularly with the use of southern-US-accented fundy Xtian declaiming whatever it is those types like to bang on about as a sample on the first half, followed by incredibly effected vocals (almost not sounding like a voice at all) that rasp "You don't understand, fuck it!/Throw it in the trash/Watch the strength of your mind disappear/Crushed by your ignorance". The music here is sparser, more minimal and background, soft clashes of synth and winding, wiry sounding tone put in a slowly rhythmic manner. Echoes of Brighter Death Now and Attrax Morgue, perhaps even (good era) SPK in a solemn mood.

Side two is Content Nullity's. "In The Throne Of Her Abhorrence" begins with a very precise sounding drone/tone, mechanical and sharp, with a slowly pulsing single-note sequence. Reynolds' voice is shouting and harsh, somewhat monotonal, though, as he lets the world know of his mix of emotions regarding, it would seem, a prior relationship? "To think I once/Tasted unfathomable pleasures/Had body warmth lavish my skin/Kill me/Kill me/Kill me/Killed by the claws of the witch". A slow, almost-melody comes in when he demands to be killed, adding a sinister, near-Dark Wave-esque feel to the tone as the piece increases the backing distortion and a more Industrial sounding noise-rhythm comes in, yet still very clean and precise. The sounds are built-up, increasing the feeling of frustration and dissolution, before dying down to the opening tones over which "I have found my pink exit" is shouted. It's clear that a lot of attention is placed on the mixing and production, a preference for a clean, tight sound to match the tight composition of the spiral itself. The second piece, "Grief", is a simple, four chord sequence on the keyboard, rather heavily distorted and repeated, aided eventually by a keening wail of effected vocals. The sound of a passing funeral, struck with grief. The manipulation of the delay on the vocals is what keeps it interesting, pulsing echoes rising and dispersing, but I tend to think this particular spiral is dragged out a little longer than it should have been.

This is a dark album, for those dark moods when you crave darkness. Well composed, perhaps a little too flat in the overall production for mine, but will appeal to those who want something dark yet aggressive.

By Andrew McIntosh:

REGOSPHERE/EXTRAORDINARY PIGEONS, split cassette and download, Pigeon Coup International, 2011

Starting with the rather lamely titled Extraordinary Pigeons' (seriously, what is that meant to mean?) "Spirits Of The Ice Age", the band incorporate acoustic sounds that are heavily effected and treated. Heavy breathing voice, strident horns and deeply bellowing, plucked strings, lesser identifiable sounds are sparsely and cleverly composed to produce a dark, bleak sounding piece of modern orchestral music. Nicely paced, each sound has its own room to make it's own mark and interact with the others. It's grim and evocative - one can, at least, understand the choice of the title. The sounds move like pictures against a blackened background, like cave paintings in a cavernous space barely lit by fire. It moves through phases, bringing out and introducing the various elements in a controlled yet naturally flowing composition. The "folk-drone" sound of the final third of the piece is almost triumphant, after the bleakness of the darker moments, summoning the sun to break the ice and let life breath again. This is a successful and enjoyable piece.

Putting the pressure on Regosphere, Mr Quitter acquits himself well, beginning with "Nervous Reaction", a burbling and growling synth track brings a full and satisfying crumble upon which, scooped like sludge, higher pitched synth sounds dive and rise, breaking into white sound hissing and confused buzzing. After the mass of confusion sounds are then stripped down to their barest, allowing the less sludgy but no less filthy buzzing and creaking to succeed the one after the other. The sound is full and direct and nicely messy. Following with "Analog Swamp (Born In The Slime)", Regosphere gives us a higher-pitched, nastier sounding squall of squealing and pulsing synths trying to induce headaches in the listener. Rhythmic and attacking, it's a singularly aggressive piece of Industrial inspired Noise.

Good, well made and highly listenable pieces and a decent contrast between artists makes this a desirable album, and if you get the tape you get the download for free.

From an article by Josh Lay - http://www.hammersmashedsound.com/2011/11/playlist-josh-lay.html

-Regosphere - Gutter Swarm cassette... More awesome material from Andrew Q. I am never let down by this dude. As the face of Dumpsterscore Home Recordings, and Regosphere, he has a way of creating an atmosphere of loss and being dissolved slowly by acid. As of late, cooking up some really sexy movie soundtrack material as well. Comes in a nice bulky and beautiful vhs style case thanks to Phage Tapes.

From Vital Weekly -

LEECHHEAD/ULTRA BONBON (cassette by FTP Recordings)
EXTRAORDINARY PIGEONS/REGOSPHERE (cassette by Pigeon Coup International)
A split tape with hardly any information, not on the cover and not on the website. It could be that the title is ‘Ultra BonBon’ or a split tape. The website says its a split tape. This is a twenty minute tape with five pieces of ‘experimental’ electronics. Not really from a well-taught out, thoroughly composed nature, but more from an era of lo-fi electronics, with hints towards noise, but never over the top loud. They add a bit of rhythm in ‘Lifeless’, to add some sort of spicey dubby like sound. Leechhead seemed the more noisy one, over Ultra BonBon’s more psychedelic layered soundscapes. I guess its all ‘nice’, but not great. It seemed to me all a bit without direct focus. Creating music as a means to pass time, which of course is fair enough (always better than starting a riot), and in an edition of 18 copies surely a fine hobby. But I guess it could be somewhat more than just this. Two bands/projects who also have a split tape, also perform live, so perhaps its a bit more than just a hobby. Extraordinary Pigs have a terrible name, but this trio from Seattle, have a lengthy track here on this tape that is excellent. Low humming , meditative and hard to tell what it is they are doing. Instruments? Acoustic ones according to the cover, but that’s hard to believe. Great sustaining sounds along the lines of William Basinski. An excellent piece indeed. The other side if for Andrew Quitter, also known as Regosphere. His side was produced with analogue synthesizers and shortwave radio, and is quite noisy. I am in a good following the Extraordinary Pigeons side and normally I wouldn’t care for such a thing very much, but for now its ok. The sort of noise thing that goes on and on, not really loud, but perhaps a bit too much without much idea. (FdW)

From http://devdformats.blogspot.com -

V/A - Life's Been Swell… Now I Want to Die -Strabismus Tapes - (4)

This is upsetting. Strabismus Tapes is closing up shop. I know there are a million new tape labels popping up every day but this one felt special. There was a singular vision to the aesthetics and music released from this label. You felt like the captain was fully in control at all times. I didn't always agree with every choice but i always respected them. It's fitting that the final release from this label is a doozy. A tribute to Dystopia, a band I hadn't thought about for awhile now. I have most of those records and I used to listen to the fuck out of them but I think enough distance has built between me and that band that this was a huge surprise to me that I actually remembered and recognized some riffs/samples. At least I think I do. This is noise bands "covering" dystopia. It's harsh, dirty and totally awesome. The bands or acts that are on this comp are:

Dust Cult
Clive Henry
The Raytownian(s)
North Oakland FTW

Some of them I am familiar with and others were brand new to me but all did a fantastic job of illustrating the rawness and brutality of Dystopia. This is a fantastic. It's just a little bittersweet.

Sentireascoltare - GIMMIE SOME INCH#14 (in Italian) -

Regosphere / Compoundead - Split Tape - Sincope

by Stefano Pifferi

Rispondono nella seconda l’americano Regosphere e i padroni di casa Compoundead, anch’essi anime pie della sottomissione al rumore. Se il primo gioca tra basse frequenze e cut-up rumoristico, ma tedia un po', Mara e Truculentboy si mostrano più astratti e droning e, sinceramente, pronti per un full-length dai contorni più definiti. Lo aspettiamo.

From AUDIODROME.IT (in Italian) -

Regosphere / Compoundead - Split Tape - Sincope

by Michele Giorgi

Regosphere è il progetto dell’americano Andrew Quitter, cui spetta il compito di aprire le ostilità nello split (su nastro numerato e prima uscita targata Sincope) che lo vede confrontarsi con il duo italiano Compoundead. La sua composizione, Socialized Into Extinction, è segnata da uno stile industrial crudo e ruvido, materia prima su cui si incuneano pulsioni ritmiche minimali e sferzate di rumore bianco, per un affresco capace di rispecchiare fedelmente il titolo prescelto. Il gioco è quello del rimandare con i suoni a un immaginario di rovine industriali, enormi spazi in cui l’eco riverbera gli spasmi di macchinari arrugginiti e cemento gonfiato dall’umidità, ma la cifra di Regosphere si manifesta nel sapervi aggiungere un elemento di disturbo che sfonda le casse e irrompe all’improvviso. L’esperimento, grazie anche all’uso del tape collage, appare interessante e colpisce nel consegnare una buona dose di ansia all’ascoltatore, anche se - a voler essere pignoli - non si stacca troppo da quanto si è già ascoltato in ambito death-industrial. Il duo Compoundead risponde con una suite noise in cui eco e reiterazioni drone conducono ad un effetto straniante, se non proprio psichedelico, tanto aperti quanto l’americano appariva a suo agio nel muoversi in interni, seppur ormai ridotti a meri scheletri. Decisamente meno invasivi di Regosphere, i Compoundead preferiscono dilatare le strutture e portare gli angusti spazi ad espandersi in una sorta di sospensione spazio-temporale, pur senza abbandonare mai la corporeità palpabile della materia sonora trattata. L’accoppiata tra due stili ben differenziati e dalle distinte personalità rende questo split un buono spaccato sulle possibilità del rumore come materia prima per sperimentazioni e approcci differenti, così come ribadisce l’importanza di una personalità ben delineata e di una discreta voglia di mettersi in gioco quando si decide di percorrere una strada ormai affollata. Sotto questo profilo e senza togliere nulla a Regosphere, il linguaggio di Compoundead solletica maggiormente la curiosità e si mostra meno vincolato a codificazioni più o meno rigide.

From www.plaguehaus.com -

Regosphere - "Anxiety Flow" - Tape - Righteous Conservative

My previous exposure to Regosphere, aka Andrew Quitter, was last years spilt with Werewolf Jerusalem on his own DumpsterScore label. So liking what I’d heard there I was more than happy to check out one of his latest, “Anxiety Flow”. One of the things I like about this project is its elusiveness to a specific genre. Mixing field recordings, analog synth and a variety of effects, the result a nice respite from my usual diet of uber harsh electronic fare.

Kicking off Side A is the title track, a looping, reverb heavy synth number that for some reason reminds me of the Eagles when it begins before becoming more aggressive and frightening as it ends. Next up is “Forced Agoraphobia”. This one heads off into more Death Industrial territory with radio frequency fuckery and an evil industrial thrum through out. Maniac whispered vocals slither deep in the mix for to further horrify the soundscape.

Side B begins with “Displaced”. Looped electrical buzzing and field recordings: distant banging metal, unintelligible phrases, trains, the kitchen sink. I really liked this track a lot. It’s simple but powerful. A good one to play when it’s dark and rainy out. “Lone Fir” is another track heavy on the field recordings, almost a part two to the previous, but the low, lonely synth is more Dark Ambient or Folkish Industrial than sizzling Death Industrial. Hell, this track would be at home on an Allerseelen disc. Another very good track.

My only real criticism for this tape is the cartoon cover on the jcard. I’m very visual when it comes to sound purchases, and honestly I’d probably pass on this because it betrays the atmosphere of what’s contained within. Personally I think the inside cover would have been a better choice. Limited to 30, this is a hidden gem definitely worth seeking out.

From www.plaguehaus.com -

Werewolf Jerusalem / Regosphere - Split Cd-r - DumpsterScore Home Recordings -

I grabbed this one since Werewolf Jerusalem is one of my favorite of the Richard Ramirez projects and I hadn’t had a fix in awhile. There’s so much new stuff coming out I gave up trying to keep up long ago. I feel sorry for any serious RR completists out there. The disc kicks off with Werewolf doing what Richard does best in this incarnation, heavy bass-laden walls that are so deep they sound like there’s a touch of ambience going on underneath. This track is almost 20 minutes of WJ doing what it does best.

Regosphere, I believe, is a project of the DumpsterScore commandant. I was virgin to this one and was pleasantly surprised. Two tracks of bottom heavy death industrial. Track one features crazy scifi-style synth lines. It’s what I’d imagine riding around in the Plan 9 from Outer Space saucer would sound like. The second track is the more ominous and harsh of the two, but the filtered chipmunk vocals turned me off a bit.

Still, this is definitely a strange pairing and worth your $7 to check out. No nonsense cover and inserts packaged in a vinyl sleeve. Order it direct from the label here.

From www.heathenharvest.com -

Artist: Various Artists
Title: Tarot Series IV: The Emperor
Label: Invisible Eye Productions
Genre: Industrial/ Dark Ambient/ Experimental
Track Listing:
01 Mytrip - Reign Over the Headless
02 Sala Delle Colonne - Un impero Nel Deserto (slow)
03 Regosphere - To Lead Rather Than to be Led

The Father figure. In all our lives, this is the figure that has the most potential to elevate us to the greatest of heights, or throws us to the depths of hell on Earth. In my experience, I have seen few that are fairly indifferent to the presence of their own paternal influence, as most either love their fathers unconditionally as they have been loved by him, or absolutely despise them for making them victims of their ignorance and abuse. Whatever directions your relationship with Dad have taken, no one can deny that his power is among the most absolute while our heart continues to beat. This is The Emperor, the transcendental embodiment of paternity, discipline, achievement on a grand scale, and masculinity. This card is the one that means the most to me personally, and to elaborate why, I will take this chance to tell you about Soul Cards, the cards that parallel us and who we are.

Soul Cards are very much an extension of our astrological and numerological associations. While an astrological sign is a general list of our characteristics and tendencies, a soul card combines the numerological essence of the time of our birth with the energy of the sign we are born under. Combine all of the numbers in your birthday, month, day, and year, and should this number be greater than 21, combine those. Now look up the card that corresponds to that number. That card is not only a more concrete representation of who you are, but also tells you what you are on this planet to achieve, and what you are most capable of doing to enrich your own life and the lives of those around you. My soul card is the card in question, and I could not be more proud to be a King among men...

The songs featured on this single are my favorite in the Serie so far, not because they are tributes to The Emperor, but because they are an exceptional accompaniment to an authoritative but just energy. They range from deep, determined and black, to feeling so much like the warmest embrace from Pater to child imaginable. The latter being the best way to describe "Reign Over the Headless" by Mytrip. A deeply comforting and ethereal piece, like the most perfect breeze blowing all over you as you stand before a shore, with sounds similar to the whisper of waves as they die upon the sands. With sands in mind, we are then transported beyond the proverbial shore and into a barren but magical place with "Un Impero Nel Deserto", the song I have come to favor the most from this series. Translating to "An Emperor In the Desert", this perfect combination of sounds like Middle Eastern flavored cello, hand-slapped Indo-Islamic percussion, as well as traditional lute and string drones instantly puts you next to a handsome figure as he makes his way across dunes that are made up of the sands of time themselves. Surprisingly (and thankfully), this is not the only version of this track, as Mehmet of Sala Delle Colonne has composed a more rhythmic version, yet unreleased at press time. The closing track is sure to please followers of a more Industrial style of Drone, Noise or Power Electronics. "To Lead Rather Than to be Led" is composed of a strangely ambient, seemingly undulating static and an almost arpegiated low-frequency. Very purist and to the point.

Though I did not receive word of this series soon enough to have been able to contribute to this particular single, I was able to submit a song for the card of wishes and cosmic unity, The Star, which will hopefully be released in October. I am not bitter whatsoever, but intensely greatful to all the artists on this single for they beauty they have wrought... The Rex is pleased.

From http://amt.blogsport.de/ -

Werewolf Jerusalem / Regosphere - Split Cd-r - DumpsterScore Home Recordings -

And another release on Dumpsterscore. This time it’s a split-release between Werewolf Jerusalem (another offspring of the hyperactive Richard Ramirez) and Andy Dumpsterscore’s own project Regosphere.

The disc kicks off with a 18:46 minute harshnoise-wall by Werewolf Jerusalem entitled „Night Of The Skull“. Sounds like another reference to horror-movies or stories, but there is no more information given on the concept of the tracks. The wall is really heavy on the crunchy lower mids. Not that much going on in the super-low-frequencies, but the overall-sound is saturated very well and gives a nice warm feeling. The subtle use of higher frequencies adds to that impression. There are some nice crackling textures going on, but most of the time the wall is extremely static and non-evolving. Instead of collapsing the wall fades out nicely.

Next up are two tracks be Regosphere, clocking in at 6:33 and 8:50. Only knowing the „Nature knows“ bizcard cd-r (which is think is exellent) I am quite curious to hear some more material by this promising project. „Empty promise“ centers around a high-pitched, modulated synth-sound, which is accompanied by some very distant mid-freuency drones and some more high-frequency synth-sounds. The track has a somehow calm and dreamy sound, but there is a feeling of tension which is present during the whole 6:33. I waited for noise-hell to break loose at any time, but instead I was given some fine constructed and layered synth-sounds without any harshness at all. Interesting. And then, at about 5:10 the sounds fade out, there is a moment of silence until some distant and calm drones creep in, creating an ambient-feeling that I‘d like to compare to some of Michael Page’s Sky Burial material.

The second track is called „Initiation“ and it is the complete opposite of „Emtpy promise“. Harsh, powerful, aggressive. Again a lot of synth-sounds are use. There is a ryhtmical-pattern of deep and distorted synth blast, combined with some high-pitched shrieks. The vocals are completely gutted, super distorted and super aggressive. Due to the rythm of the synth the track is slow-paced, but because of the harsh distortion-textures and the hectical high-frequencies (sounding like an theremin) the aggression-level is very very high. The concept is more similar to the mentioned bizcard cd-r, the sound however is more clean and digital here, while the bizcard had a somehow more analogue and warm sound. For my personal taste the track is a little too long. Boiled down to 4 minutes and focused on the core-motives.

The release comes in a slipcase with a b/w-cover printed on heavy paper. Inside one finds the cd-r and two inserts, consisting of two one-sided prints each, done on heavy paper and glued together. The prints have a somewhat pop-aesthetic and form a nice contrast to the merciless harshness of most of the material.

From http://amt.blogsport.de/ -

Regosphere - Nature Knows - bizcard Cd-r - DumpsterScore Home Recordings -

„Nature knows“ is a neat little bizcard-cd-r by Regosphere, released on Dumpsterscore, which is, I think, run by the man behind the project himself.

The release comes in a small case with a b/w-xeroxed insert. One side shows a grainy photograph of some river, the backside has the name of the project and the title of the release handwritten.

The disc itself houses a single 3:48 mintue track entitled „Nature knows…“. However, it is allmost two tracks as at 1:59 there is a short break after which the track continues but the sounds have shifted a little.

The track starts with a great sound of pulsating, throbbing, distorted synth-pulses which form a rythmic pattern. On top are heavily processed vocals which have a decent amount of distortion- and flanger-sounds. They somehow remind me of the typical Steel Hook Prostheses vocalsound, though the overall sounds of both projects have not much im common.

After the short break the synth pulses continue as do the vocals, but the pattern has shifted. So it is not really like another track but there is some sort of difference to the first fragment of the track and switching from the first to the second fragment is rather abrupt.

The overall feel of the track is highly energetic and quite aggressive. It is hard to label it as harshnoise or sort it in the power-electronics box. Soundwise I‘d say it is pe, but in terms of concept and presentation I‘d put it into the harshnoise-corner. Anyway, more important is the quality of the material and the quality level of the release is really really high. Been listening to it quite a lot since I got the disc and the material still grows on me.