Eco Wallet featuring artwork by Paul Tierman. Limited to 200.
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01 Dear Fuckhead
02 Tension Benders
04 Unnamed Tempomatic
05 Agoraphobic Claustrophobia
06 Play Me A Jig Through The Corpse Of A Cyborg
07 Panic Day
08 Live Broadcast Seppuku
GRIDFAILURE is David Brenner. MEGALOPHOBE is Benjamin Levitt.
Rob Levitt performs on Agoraphobic Claustrophobia, Tension Benders, Play Me A Jig Through The Corpse Of A Cyborg, and Tasukete.
Tasukete was performed, recorded, and mixed mid-2017 through early 2018 by David Brenner and Benjamin Levitt at The Compound in Valley Cottage, New York, and Forked Audio in Brooklyn, New York.
Front cover art and design by Paul Tierman.
Photos, Tasukete logo, additional art, and layout by David Brenner.
“The music video we’re debuting for you today couldn’t be any further from your local bands’ metalcore warehouse performance clip. Pairing acid-washed visuals with their collaborative digital hellscape “Agoraphobic Claustrophobia”, experimental acts GRIDFAILURE & MEGALOPHOBE step away from noise and industrial clichés and deliver a troubling, dizzying multimedia assault on all six of your senses. This doesn’t have a content warning, but if you’ve just micro-dosed, please take care. […] Unearthly bleeps, cheeps, and creeps dance over a somewhat primitive drum loop and harsh, grinding vocals call out, seemingly from this realm and the next. Multi-faceted is a term you could use when describing this. Or you could just scream “tasukete” and hope someone nearby understands and can assist you.” – Heavy Blog Is Heavy
“A cry for help within the search to make sense of the strangest parts of our experience. Put another way, this is a deep dive into the strangest possible locations. Nothing is safe and our perceptions are always compromised. If you’ve never heard either of these bands before, prepare to cry out for some help. Both bands create music that can only be called experimental, psychotic, and confused noise. […] Give yourself time to adjust to the new and unfamiliar sounds and then just see what happens. If you give it a chance, you’ll find that the music gets more interesting and more engaging as it goes. There’s a method to all the strangeness and it can reward patient listening.” – Sea of Tranquility
“While songs on the album like “Dear Fuckhead” and “Tension Benders” scrape and claw at your cerebral cortex, this video for their song Panic Day serves as the perfect introduction to their wonderful world of weirdness. The mixture of electronics and acoustics blends both the traditional and experimental music worlds perfectly. The atmospheric tone of the song combined with the frantic video footage makes for a terrifyingly beautiful experience.” – Toilet Ov Hell
“…this time around it’s more urgent and mechanical. Heavily effected vocals, industrial elements, ambiance, feedback and noise swirl amidst seemingly random song structures, with tracks ranging from two to nearly nine minutes. While mostly dissonant and avant-garde, there are semi-traditional moments on tracks like “Agoraphobic Claustrophobia” that quickly dissipate and the madness resumes.” – Heavy Music Headquarters
“…an album ripe with confusion, unhinged with contorted visions, and explosive self-immolation through strenuous psychosis, as the two artists treat themselves as self-crash-test dummies strapped into their own torqued contraptions.” – Avant Music News
“A noisy nightmare, a soundscape to the struggle of the soul in the contemporary urban climate, the sound of late capitalism trapped in a spit bubble and a discarded piece of chewing gum on a subway platform. It all comes together there, in the moments before we are hurled into a long tunnel. In the end, there is a light. It either carries us into the fires of our eternal tormentor or into the arms of a benevolent being who will coddle our baby souls with the sounds of Neurosis and King Diamond for the entirety of our afterlife. This isn’t music as much as it is Cinema Verite as imagined by two auteurs who’ve been raised on a steady diet of Wolf Eyes and the sounds of Hell’s Kitchen in the early 1980s.” – PopMatters
“…a nearly five-minute mind-melter of abrasive noise, dizzying atmospheres, pseudo jazz instrumentation, and psychotic vocals. It’s like being trapped in a funhouse while under the influence of illicit substances.” – Svbterranean