album artwork by Ryan Riss

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Downgrade Cassette + Digital out now (11/15/19). Each cassette will be wrapped in individually handcrafted art by Zach Reini. In an edition of 50 via Multidim Records.

Braiding a rope over the course of a decade is an exceptionally skill-testing activity. Especially when the braid is wound of something as diaphanous as sunlight running through a circuit. This braid assembled itself in front of my speakers as I listened to Downgrade; made itself known, like a slithering sea creature, as Aliquot Rave. It spoke of pulsional embrace, a maturity (or refinement) of tone, of vocabulary, and approach, that I came to understand as Downgrade’s retrospective quality, plumbing (as it were) aspects of your own discography.

The threads of the braid were as much multiple voices as material. Heteroglossia of a true, profound, and bright sense of celebration along with something else that I often hear in your work; its elegiac undertone (undertow). Testamentary echo of life’s unbridled periods of grief. 'This is a work having left its chrysalis', I thought to myself. I understood that the edge I heard as “perspectival crest/ing” in each track was a metamorphic cusp listening allowed me to relinquish myself to.

Relinquishment as downgrading, or down-sizing. Downgrade backing, through backward compatibility, into "down-grade": each track growing into a layer of down. Feather-down being the highest quality of down. Downgrade to respite. Downgrade devotional. Downgrade to openness.

This is the sound of modularity evoking its own self-assembly and, as AR reiterated, it is music one can fall into. Modularity “itself” making good on its neurological disposition to bind. Receptor music admits one into reception. Ineluctable fall predicted by ineluctable landing, in the soft particulate scatter that I now realized I was laying comfortably back in. Hazed, awake, head-nodding.

Comfortable, considering everything that had just occurred, it dawned on me that the instrument in question was a sonar detection device. It’s as if the roundness of the record in relationship to my body wanted to remind me that Downgrade is not only evocative of, but that it is in fact constituent of (it is the material, the metal and plastic and electronics) sonar, given as a gift to space, only to return in echo and replay to the listeners that we are to become in the future, having been transformed by listening across the expanse of our experiences, in which we, in turn, become recoded as the device itself that is transmitting the sonar out into space.

- Isaac Linder

Releases

“Decline Vol. 2” is the second installment in a series of ambient focused releases by Entrancer.

This series is primarily concerned with evolving textures and the emotional fragments found within them. Buried between these textures are meditations on the systems of oppression steering our world into chaos and decline. Ambient protest music.

Decline Vol. 2 features several compositions originally created for the “Human | Nature” exhibit at the Denver Botanic Gardens. It also includes a segment form “Eco-Simulation” an audio/visual installation for NEST at RedLine Contemporary Art Center.

Recorded and composed in the Spring of 2019 using a Serge Modular Synthesizer, Sidrax + Cocoquantus, Mutable Instruments Eurorack System, Monome Norns, and Roland SH-101.

“Decline Vol. 1” is the first in a series of ambient focused releases by Entrancer.

This series is primarily concerned with evolving textures and the emotional fragments found within them. Buried between these textures are meditations on the systems of oppression steering our world into chaos and decline. Ambient protest music.

Recorded and composed in the Summer of 2018 using a Serge Modular Synthesizer, Elektron Digitone, Zoom H4n and Cocoquantus.

C51 via Obsolete Future - Decline Vol. 1 [OF017]

Process is a collection of fractured concepts, single takes and live recording's spanning 2016-2018 (winter).

Originally aimless and destined for my archive, I decided to form them together as an attempt toward releasing my stress and grief, to find strength through creation. Catharsis synthesized through various modular systems + Roland x0x machines, kludged together into mixtape form. Inspired by Colin Ward’s endless energy http://crfw.art.

Produced & Mixed by Ryan McRyhew: Denver, CO | Mastered by David Chaim Cohen: Xexify Studios

C48 via Obsolete Future - No Borders [OF014]

Arcology follows in the free-form footwork of Thug Entrancer's debut album Death After Life.

A narrative of an imagined alien colony existing between the fabric of known / unknown worlds, Arcology explores high tech / low life society, mechanical structures, and data-driven humanity built for clubs and alien chambers.

Death After Life, Thug Entrancer’s debut for Software Recording Co. is a deliberately realized collection of dance experimentation and hybridized electronic music with narrow stylistic precedents.

Death After Life is comprised of eight chapters drawn from the album title, each numbered I through VIII. These portions underscore a pitch-dark motif thread throughout the album’s fifty minutes. “Death After Life I” is whittled and icy – long echoed claps and panned sawtooth shapes swelter around the skittering percussive elements over the four-and-half-minutes of unsettled, environmental shifting.