Tag Archives: schematic

[Archive 01.30.12 ft. Guest Host, Ay Fast]

The Upstate Soundscape, 1.30.13

1) Si Begg, “Marid Gras Bomber”
2) Mad Professor, “German Magic”
3) Art of Noise, “Movements in Love (Beaten)”
4) Lazor Sword, “Told Y’all”
5) Ammon Contact, “Segal (Daedalus Mix)”
6) Black Dice, “Trip Dude Delay”
7) Ovaca, “Ecstatic Feeling”
8) Kid 606, “My Kitten Went to London”
9) Outkast, “Intro”
10) Deep Burial, “Gimme that Wine”
11) Mouse on Mars, “Polaroyced”
12) Electric Company, “Un Polvo”
13) Chaos AD, “Psultan Pt. 1”
14) Bogdan Raczynski, “I Will Eat Your Children”
15) The Avalanches, “Etoh”
16) Glass Candy, “Geto Boys”
17) Team Doyobi, “Brutal Deluxe”
18) Bee Mask, “Pink Drink”
19) Sa-Ra Creative Partners, “Timeless Continuum”
20) Cabbage Boy, “Vender Food”
21) Tax Man, “I Need Some Money”
22) Auto Poises, “C [] edit”
23) Subjex, “Traps of Perception” (Schematic)
24) Otto Van Schirach, “Laptops and Martinis” (Schematic)
25) Crash Course in Science, “No More Hallow Doors” (Schematic)
26) Dino Fellipe, “Sexual Boats (Guitars Float)” (Schematic)
27) Juan Telway, “Is this Love?” (Schematic)
28) Delarosa and Asora, “Paz Suite 3” (Schematic)
29) Joe Lentini, “Johnny Freestyle” (Schematic)

[Preview 1.30.13: Guest Host Ay Fast]

Tonight electronic weirdo and Schematic recording artist Ay Fast will be in studio to guest host The Upstate Soundscape. No clue what he’ll play, you’ll just have to tune in to find out. Show starts at 8pm on 91.3FM WBNY. Stream at WBNY.org.

In the meantime, check out some tracks from Ay Fast’s last album, Nice Arps. 

[Review: Ay Fast, ‘Nice Arps’]

Tuning through the galactic interference of interstellar radio, Ay Fast‘s new album Nice Arps opens with vibrating frequencies.  Eerie darkness floats across the Buffalo-by-way-of-Cleveland artist’s sonic backdrop, rattling distortion bending into jabbering dissonance.  Upbeat waves of “Shriggda” roll outward, hollow conversation beating back and forth between mumbling visitors.

Dropping octaves to “Blue Rabs,” echoed mutterings flit across empty space rising above the shadows cast by a chiming undercurrent.  Syllables stretch across space and time, a chorus of yearning coalescing momentarily before disbursing once more.  Staccato bursts help the darkness flee, eyes gazing starward once more across the heavens.  A moment’s respite sparkling through the night sky.

Meandering toward more earthly locales leads into concurrent conversations gathered unbidden, the gurgling ambiance of a sandwich shop in the “Escaglade” drifts in an out of focus while passing through.  Heading outside after lunch, glitched orchestration “For Shemmmm” pulsing allows rhythm to regain control for a moment before straying back toward darker corners.

Life is jittery at best as this sonic exploration saunters forward.  Surviving the mass-produced madness of every day is a burdensome task for some, endless jabbering distorting through the sounds of community existence.   Metal clacking into one another above the din before the endless whine of productivity grates on. Fast and slow toward the finish, “Shit Tahiti’s” constructed repetition scratches suddenly into a sonic morass buzzing about “Buffy Dragon.”  Slogging across this strange creature’s domain stumbles upon a gathering of the “Fluteish” performing brilliantly amongst the murky gloom.

All pieces pushing air in concerted harmony, Nice Arps draws to a close with woodwind and percussion gliding effortlessly around one another.  Fading back into the dim Ay Fast signs off, looping into the silence.


Review by a career in the haw haw haw haw 

[2011 In Review: Ay Fast, ‘Always Crying’]

Ay Fast, Always Crying (Schematic)

Meshing madness, life, and a slew of electronic vibrations, Ay Fast’s Always Crying slices through eleven tracks at varying speeds.  An organized cacophony, the soundscapes produced byAdrian Bertolone span a host of electronica’s self-described sub-genres.  Ambient, dubish and glitchy by turns, the online offering presents a glimpse of our crumbling future.

Mechanical reverberations open things up as “Chirped Off That” spacily swirls passed, echoing transmissions and setting the stage over an eerie backdrop before moving toward earthbound madness.  A lazy island cadence bleeds into furiously flashing lenses and bouncing bass wobblings.  “Eat The Camera” then offers some needed advice to the ever growing legions of image obsessed earthlings.

Experimentation merging with composition, Bertolone’s sonic imagery stems from the society our forbearers left for our corruption.  “Kong Doom” opens with news of a failed drug test, clicking into a spin through the radio dial as a business decides they made the wrong choice based on a laboratory report.  The tempo picks up as life continues gliding by despite humanity’s hurried scurryings across its face.

Off kilter beats continue funneling into sampled life, children laughing through distortion and stuttering records.  A murky middle heads toward a more finished product as Always Crying rolls into a trio of longer tracks to finish things.  A little more sinister; a darker look at where we’re going emerges.

This is a Rust Belt native producing tracks seemingly inspired by the crumbling cities rampant greed has left behind for America’s children.  Shuddering mechanics bring things to a close not far from where they started, uncertain and less than hopeful about where things are heading.


Review by a career in the haw haw haw haw