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» » Disturbed Earth, Shane Morris - Suburban Catacombs
Disturbed Earth, Shane Morris - Suburban Catacombs mp3

Disturbed Earth, Shane Morris - Suburban Catacombs mp3

Disturbed Earth, Shane Morris
Suburban Catacombs
25 Jul 2012
Relaxed Machinery
MP3 archive size:
1522 mb
FLAC archive size:
1081 mb


1Suburban Catacombs57:07


Ambient, New Age, Experimental
"Suburban Catacombs" is about what goes on under suburbia, the day to day...literally, the pipes, storm water drainage, electric cable, communication, internet."

Shane - "Dean and I had been working on a collaboration in early 2011 for his "Sister Cities" project and had talked about doing a full length release together at some point.

I played a live streaming set in May 2011 and upon listening to later on, immediately made me think of Dean. This set featured a heavy reverb that I tailored to achieve some of the cavernous percussion sounds, dense drones, and thick harmonies. For the set, I used generative Reactor patches, Absynth, and field recordings along with a small percussion battery consisting of an udu drum, woodblocks, bottle caps, Roland spd-20 electronic percussion, and the base of a microphone stand for a bass drum. Looping done with Line6 DL-5 and Akai Headrush. Outboard gear was Alesis Midiverb and Soundcraft mixer.

The set was a minimalist approach that lent itself easily to collaboration later. I sent the live set to Dean and he liked it and we went from there. " - Shane Morris

Dean - "When Shane sent me his live set, it was in four parts.

I edited a few things, but for the most part it's intact. Shane's reverb was already there, so I had to match/feel what I could do to compliment what I was listening to.

So I played live nylon string guitar through my tape delay thingy and some percussion stuff as well, then added pedal harmonium and electric guitar as overdubs, with the same said tape delay system I use.

I thank Shane for our phone calls and laughter. Producing the unknown, as I love to do, results in an understanding. This collaboration with Shane is one such.

What goes on under the everyday of suburbia? The mystery of all those millions of miles of cables, wires and tunnels….all very nice encapsulated in the music that comes through that same source...via what's been laid there and buried in the ground."
" - Dean (Disturbed Earth)
released 25 July 2012
rM_0028 2012 Relaxed Machinery

Shane Morris: Synths, Electronic and Acoustic Percussion, Field Recordings and effects.

Disturbed Earth: Production, Construction, Reel to Reel tape delay, Electric and Nylon String Guitars, Pedal Harmonium, Percussion, Field Recordings

  • Review by Hypnagogue http://hypnagogue.net/2012/08/29/disturbed-earth-shane-morris-suburban-catacombs/
    August 29, 2012
    Pulling up memories of certain well-known purveyors of electro-shamanic grooves as it goes, Disturbed Earth and Shane Morris’ collaborative effort, Suburban Catacombs, took an interesting route on its way to carving a unique path its modern interpretation of the lower world. The music here began as a four-part live set by Morris that included (and I’ll indulge myself in italicizing my favorite parts) “a small percussion battery consisting of an udu drum, woodblocks, bottle caps, Roland SPD-20 electronic percussion, and the base of a microphone stand for a bass drum.” Morris gave the initial recording over to Dean Richards (aka Disturbed Earth), who then added, among other things, guitar and harmonium run through tape delays, along with the usual alchemical processing that makes him a very sought-after partner in sound. The end product is an hour-long headfirst delve into shadowy spaces and humid sonic atmospheres that leaves its impression on the cave walls of your mind. Morris goes thick on tectonic-shift drones and the rich percussion. The duo may state that the disc is about “what goes on under suburbia,” but the echoes reach all the way back to the primitive. Throughout the piece, this borderline grimness is balanced off nicely by natural field recordings peering through. In the earliest parts of the disc, Richards’ nylon-string guitar is an earthy, solid touch against a sort of growing fog as Morris begins to weave his strands. Later, the guitar will return, Richards’ calm noodlings twisting quietly and reassuringly against Morris’ churning, misty dronework. Suburban Catacombs resolves itself by turning upwards and lighter in the end, the kind of soft space that allows the listener to drift back, retaining the resonant feel of the journey. This is a wonderfully dense recording; every moment is filled with finely honed intermixes of sound. Morris is becoming one of my favorite practitioners of the electro-shamanic sub-genre. His journeys are about total immersion as he blends the simple acoustics of percussion with fresh takes on ambient and drone. And Richards, well… There’s a mighty good reason ambienteers are queuing up to have him take a crack at their creations. His touch is impeccable.This is a disc to leave on for hours. Deep listens garner magnificent payoffs. Much time will be lost wandering these Suburban Catacombs.