I’m Lost

(23five - 23five019) CD $15.00 (Out-of-stock)

A schizoid-concrete opus of environmental sounds heightened, stimulated, decontextualized, and teased into a psychic puzzle of industrialized and post-industrialized detritus, I’m Lost’s harsh edits and disjointed collages render sound with dysphoric associations through vacant drift, crumbled gravel, scalding plasma-tube frequencies, and putrid factory noise. Eamon Sprod achieves the same psychological gravity as Sudden Infant, P16.D4, and John Duncan with an even greater sense of dislocation from those pioneers of radical tape splicing. Listen to an edit of track number four here: https://soundcloud.com/23five/tarab-im-lost-track-4-edit



(Naturestrip) CD $14.25 (Out-of-stock)

Melbourne sound artist Eamon Sprod creates textures from microphones dragged through leaves and gravel, rain pounding against buildings, and waves crashing inside an abandoned factory. Tarab’s field recordings and improvisations combine natural and artificial sources in richly layered sonic environments. Imported from Australia.


Take All of the Ships From the Harbour, And Sail Them Straight to Hell

(23five - 23five014) CD $12.00 (Out-of-stock)

Corroded locations where mankind has scarred the surface of the earth feature prominently in the work of Melbourne sound artist Eamonn Sprod, documented through field recording and sympathetic actions with found objects from those sites. One such location that features prominently in Take All of the Ships... is Angel Island in the San Francisco Bay, once the home of an immigration station at the turn of the 20th Century and later a Nike Missile site for the US military; it now rests in the hands of the US National Park Service, which has left some of the buildings to succumb to the forces of decay. From the sounds culled from this site and others closer to his antepodean home, Tarab diligently overlays and stitches together a tactile composition with few digital treatments. As the opening ominous rumble ebbs and flows, with its frequencies appearing to emerge from the center of the Earth and liquefy the surface upon impact, Tarab unveils a revolving series of exaggerated details from a hyperbolic gash of two heavy pieces of metal grinding against themselves to a toxic chorale of nighttime insects to sand, wind, and surf detourned into sedimentary white noise. Tarab's compositional sensibility shifts throughout the album, at first sparsely situating these sounds into shadowy vignettes. Gradually, an arcing crescendo exhibits sustained harmonics rarely heard in the best of the contemporary dronemusik technicians, much less from the realm of sound ecology.


Wind Keeps Even Dust Away

(23five) CD $12.00 (Out-of-stock)

Through installation, performance, and composition, Australian sound artist Eamon Sprod reinterprets the physical detritus of the landscape within a hypothetical topography where dirt, soot, and smog emerge as privileged materials, in to which he grafts the potential for a transcendent response. Field recordings are fundamental to this creative process, bolstered by sympathetic sounds activated by Sprod’s own hands rummaging through crumbling leaves, rusted bits of metal, broken concrete, and shattered glass, to name some of the more obvious sources. Wind Keeps Even Dust Away is only the second documentation of Sprod’s compositions but it’s an accomplished work on par with the contemporary sound ecologists such as Chris Watson, Eric La Casa, and Toshiya Tsunoda. Sprod intertwines compacted collages that tease aquatic references from abandoned and overlooked sites of the arid Australian landscape. Every sound of a pipe gurgling with water is but a mirage of sand, rust, and dirt cleverly tricking the ear.