Eteipapula On the Making Of ‘Dubiety ?’
What was the creative process like for this particular ‘Dubiety ?’
I feel like the creative process behind ‘Dubiety ?’ was really intimate and personal. It was just me, my bass, a midi keyboard and my ideas. It was lots of happy incidents and a unique creative journey as it spanned over 1.5 years in time. It was hard to keep the finished songs to myself and not make them public but it was definitely worth the wait since, I think the album would really lose all its meaning without a single track from it, or maybe even with tracks having switched positions in the pacing of it. Speaking of meaning, the album was recorded and produced during the end of my teen years, it kind of marks my transition from childhood to adulthood and lyrically-wise it's all about doubt and insecurities in my opinion but anyone can see whatever they want in the lyrics. It feels victorious to have a finished project on which I can look back to keep track of my progress in music and in life, it's like a time capsule from the recorded period I will always turn back to.
Can you talk about the recording and production process for ‘Dubiety ?’
As I said, ‘Dubiety ?’ was recorded and produced in a modest way. On Fl Studio on my computer and by recording bass lines in the cleanest way possible without having an audio interface. I have some friends who helped me in the creative process as I needed their help and skills to reach the results I was aiming for. For example, a friend of mine recorded guitar chords I had in mind for the tracks "Summer Rhetorics,” "Remover" and "blessed rainy day.” Another one lent me the kalimba I used for the track "Ambien Amoeba.”
What is your personal favorite song from ‘Dubiety ?’ and why?
I'm truly proud of each song almost equally but I would be lying if I said I do not prefer some over the others. I'd say "Remover" is my favorite, it's the one I listen back to most. It's above all because it was my first full collab on a song with an online friend of mine who goes by the pseudonym : (´･ᴗ･ ) . Learning how to exchange ideas with another person passionate about music was the best experience ever, and I'll look forward to it if I find opportunities to do so. You always end up noticing some errors or things that could have been done to add substance to the song here and there from the other person's point of view. I think that's what art is for in general. To build relationships through a common creative process. It might be the most human experience possible.
Can you share a bit about your musical background and the journey that led you to where you are today?
When it comes to a "musical background" I have the chance to have parents who deeply love music. It might sound generic, but my parents gave me their love for music really young, as they were blasting Best-of the Beach Boys compilations, Eels albums and many more records in our flat or in the car, my dad plays the harmonica and put one in my mouth when I was really young. I had the chance to study drums for 4 years in my local musical conservatory before quitting because of an abysmal teacher. It was only halfway through middle school that I started having a deep emotional relation to music and started listening to classic albums and niche stuff by digging the internet. Today, I can safely say that music is something I couldn't live without. Listening to and making music is really what makes me want to experience life.
How do you approach creating something new and different?
I already have very precise ideas of what I'd like to do next. I'd want to create a project with a deep connection to nature, especially the sea and the mountains. About the human experience with these landscapes and their ability to shape us with their magical presence and aspects. I'd love to experiment and cross boundaries I haven't explored yet sonically, I think it will come with the gathering of new instruments, mainly strings and brass. It will take time, but I'd like my next project to be a true accomplishment for me, kind of like a child in some way.
Tyler Kamen ‘Bamboozle Tesseract’
Tyler Kamen is a creative genius, who never ceases to surprise. With 15 records and counting, Kamen is already onto his next adventurous trilogy, starting with Bamboozle Tesseract. Filled with eccentric, polyrhythmic madness and bombastic soundscapes, Bamboozle Tesseract spirals into the storm of a wild, dystopian nightmare, a mind-opening odyssey with awe-filled sceneries, unexpected twists, illusive suspense and danger in a futuristic world. The love of technology is intertwined with 80s’ retro aesthetic. Bamboozle Tesseract creates such strange and familiar experience, placing you into a world of mirrors that gazes into danger and future, yet still entangled with the past.
“Introduction - Future X” immediately evokes a mixture of warmth, bizarreness and a sense of belonging of a distant village, delving into the thematic title song. There’s so much life and heart in the pulsing melodies and reverberant rhythms that is hard for one to set oneself apart from the vibrant life form and society that exists in this distant land. A hint of strangeness and suspense that creep from the undertone still reminds you of its illusive nature. “Gnome City Labs” gives the first glimpse of potential danger. Despite the fatal mistake, Kamen weaves a perspective of awe and appreciation that makes you linger in this otherworldly world he creates in sounds. In destruction, one can’t help but being hit emotionally along.
With his long-loved guitar-driven texture scattered in the background, Bamboozle Tesseract evokes a distinct groove and atmosphere compare to Kamen’s previous offerings. The polyrhythmic maze opens up your body and mind to new adventures. It’s stirring and terrifying at first, but it’s like learning a new language, eventually, everything just cracks wide open and you’ll see a whole world hidden in there. There’s a entire civilization living in the maze of rhythms, codes of spirituality and intelligence in recurring themes. Bamboozle Tesseract is marvelous. The album intricately draws you a series of events down the timeline, at the same time, telling you everything about Gnome Village and its sudden, unexpected downfall. It puts you on the edge of your seat, just like watching a feature film in the theatre.
Read our interview with Kamen and learn more about the story behind Bamboozle Tesseract.
Punk Head: I love how you take the listeners on a wild sonic dream through Bamboozle Tesseract. Can you tell us more about the album?
Tyler Kamen: It is certainly a wild sonic dream (or should I say dystopian nightmare)! I completed a trilogy back in 2021 called The Spectacular Machine Trilogy where I was able to truly explore the realm of progressive rock and challenge myself to push my musical boundaries. I was determined to start a new trilogy and with that, my album Artichoke Pythagorum was born in the Spring of 2022. Bamboozle Tesseract is the second chapter of what has come to be known as The Vegetable Gnome Trilogy. Set 200 years after the events of Artichoke Pythagorum, the gnome village has now become a gnome metropolis known as Gnome City. When scientists at Gnome City Labs invent the Bamboozle Tesseract to create super vegetables, something goes terribly wrong and turns the vegetables into mutants that begin to terrorize the city. With the help of Detective Sheriff, the gnomes try to restore the city back to its former glory but fail as it is completely overrun by vegetable mutants. I wanted to push myself even further with this new trilogy, basing a lot of the writing around drums, bass, piano, synth, and horn lines instead of starting with guitar as I have typically done in the past. I also wanted to move in the direction of arranged musical passages instead of too many guitar solos, although there are still plenty of those scattered throughout the album. What came to fruition is a polyrhythmic puzzle where all the instruments are tangled together, thus leaving the listener almost BAMBOOZLED!
PH: As a prolific musician with a catalog of releases, what keeps you motivated?
Kamen: After 15 albums I keep finding ways to challenge myself and I guess that is the driving component to my motivation. I want to get better and better at making these albums and my insatiable search for the perfect record is what truly keeps me going. Pushing the boundaries of progressive rock and creating the most complex, but still accessible, product is my goal. I think David Bowie stated it best, “Always go a little further into the water than you feel you're capable of being. Go a little bit out of your depth and when you don't feel your feet are quite touching the bottom, you're just about in the right place to do something exciting”. I believe that if you are reaching unknown territory with your music and it feels as if it is coming from a pure, ultimately inspired place you are doing something special. Each record has left me with this exact feeling, and it is that exciting energy that keeps me coming back for more.
PH: Can you talk about any standout tracks on the album and what makes them special to you?
Kamen: “Gnome City Labs” was the first song I made for the album. It is what set the tone for the rest of the record, so it is definitely the most important track for this project. The use of dissonance and building these songs around the drums, keys and bass were pivotal in the direction of the album. From there I was inspired to make tracks like “Splitting Atoms” and “Are You Mutant?” that followed the same kind of bombastic arrangement and soundscape. The second most important track was the title track “The Bamboozle Tesseract” which uses a few recurring themes that I bring back throughout the album on tracks like “Intermission”, “Lights Over Zezop Way” and “Conclusion – Bamboozle Reprise”. There are other motifs that pop up between tracks like “Vegetable Medley” and “Cruciferous Creepers”, but there are others as well if you listen close enough. I really wanted this record to lean into the use of recurring themes like “Lamb Lies Down on Broadway” by Genesis or “Tommy/Quadrophenia” by The Who so it would feel like a cohesive story. I think with the tracks mentioned above, I was able to reach my goal and create a mini-prog rock opera of sorts. For the final album of this trilogy, coming out in late 2023, I am pulling a bunch of inspiration from these songs so I would say they are definitely the standouts of inspiration.
PH: Was there a pivotal moment in your life when you decided to follow your path as a musician?
Kamen: My parents have owned and operated Kamen Entertainment Group, Inc. for a few decades and have been my main inspiration for pursuing music. My mother, Marina Kamen aka MARINA and my father, Roy Kamen, have published hundreds of original songs and produced commercials for many huge companies. I pretty much lived in their recording facilities since I was a young lad, so music has always been a part of my DNA. When I was 11 years old, a friend of mine had purchased a guitar magazine and brought it to school. We geeked out over all the craziest looking guitars and the rest was history. I decided that I wanted to start learning guitar and produce tracks like my parents, so after asking for a guitar, they gave me an acoustic from the studio and I began my musical journey.
PH: Who would you most like to collaborate with, if it could be anyone in the world?
Kamen: It would be difficult to pick just one musician to collaborate with as I pull from a variety of influences, but my top picks would be Ian Anderson of Jethro Tull, Trey Anastasio of Phish, David Byrne of Talking Heads, Peter Gabriel of Genesis, Ed Wynne of Ozric Tentacles and Frank Zappa.
EP REVIEW: WILLIAM SANFORD “COOL MEMORIES”
Staff Pick
Photo credit: Christina Sanford
Not everyone has the luxury of time or money to go on a road trip. Constantly consumed by the endless cycle of bills and reality in life, Cool Memories is the dream come true in the wildest and liberating form. From Columbus, Indiana, to Marfa, Texas, to Rothko Chapel, Texas, and Saugatuck shore, William Sanford takes you on a psychedelic trip built on senses and imagination. You’re only one click away from the treat.
“You’re In For A Treat” lifts you up from the moment you hit the road, leaving everything behind in the gorgeous, ever-changing landscape. The steady beat puts you on the driver’s seat behind the open road, heading down the road of freedom and love. Fascinating and entertaining. “Eos Rises Over Columbus, Indiana” invites you to witness the first light of dawn break in darkness, bringing in the renewed energy in its grand, intense form. Capturing the subtle change of color, the touch, the feel, and the temperature, William Sanford depicts the magnificent, powerful scenery of nature as it climbs from behind the thick clouds to its climax, spreading the golden, silvery show of lights.
Marfa is a small town in the Texas desert yet artsy and mysterious. Out of the world in the most unbelievable place. Capturing the awe and wonder as you first witness its beauty and mystery as you drive past the town, feeling in awe by its incredible structure and unbelievable in its existence. From its texture to the mysterious sense, William Sanford seems to know exactly the words in music.
“Together At Rothko Chapel” goes to another work of art in Texas. The meditative space is open to all and belongs to none. It stays welcomes all religions and cultures. “Together At Rothko Chapel” stays loose in its form and travels between languages, time, and space. It taps into the meditative space and welcomes inspirations and messages to pass through without leaving a mark. In continuous change, there’s no limitation with where it could go and no definition to it either. The track dives deeper into the core aesthetic to Cool Memories: creating something descriptive without definition. There are unlimited potentials and possibilities to all.
Like a trip that opens up your perception and vulnerability yet promises you only a good experience without the nightmares, Cool Memories is exactly like that. Full of memories, a walk on the Saugatuck Shoreline in the swirling waves and emotive pianos as the seagull’s sound ringing in your ears is the perfect ending to a wonderful journey.
Written by Katrina Yang
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SINGLE REVIEW: CATALYSTS “You Got No Soul”
Discovery
Dynamic and full of energy, CATALYSTS is a band that doesn’t settle with the ordinary. “You Got No Soul” is constantly on the move, from one idea to another, from the obvious to the impossible. CATALYSTS is here to challenge and achieve.
Living in the present marks their anthem. A distorted guitar riff full of personality. CATALYSTS dives right into the hook within 10 seconds of the song, heavy-hitting, and soul-shaking, filled with metal-core energy.
On the other hand, the verse drifts into a completely different dreamscape with hypnotic riff and slight psychedelic dissonance. The bridge offers something else. In its immersive, massive sonics, the song evokes profound feelings.
“You Got No Soul” is structurally minimalistic yet intricate and complex in its formation. You could hear the sound of sparks when ideas and inspirations interact and engage in stimulating conversation. “We adopt a fearless approach when it comes to exploring new sounds, creating the spark and energy that is CATALYSTS,” the band commented.
Written by Katrina Yang
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SINGLE REVIEW: WOL “FRIEND THAT NEVER WAS”
Following a brief encounter with a kindred spirit, “Friend That Never Was” by the UK-based singer-songwriter WOL explores the mystical connection between one soul and another, going down the imaginary rabbit hole on a dreamful, psychedelic adventure.
Showering in the warm sunlight of guitar strum, the ritual-like drum pattern evokes a sense of familiarity and comfort. It felt like you’ve known each other in the past, although you’ve never met in this life. As if looking in a mirror of the past, the moment of encounter has brought back vague remembrance – there was a connection and history.
Photo credit: Tom Baird
“Friend That Never Was” narrates around the bittersweet of resurfaced ancient feelings forgotten in reincarnation. Swirling into a dazzling, tumultuous, surreal escalation, WOL captured the moment of confusion when feelings confront rationality, fantasies invade reality, and the past finally catches up with the present.
Finding solace in resemblance but only saddened by the default doubt and reality. “Links of a symbiotic nature, the fleeting touch of a past future. Well, the one I want to be in is the one I saw you in.”
Acceptance and honesty lead to an anthemic catharsis. No longer blindfolded or confused, the song concluded with an interestingly open-ended lyric. “I’ll catch you up sometime soon.”
EP REVIEW: ANGELIC CIRCUS “OPEN TO THE FUTURE”
Following a woman’s awakening journey, Angelic Circus explores mystical spirituality in a psychedelic, semi-lucid, fluid-like sonic space in Open to the Future. Hyperconnected to the higher realm, the EP consists of four nature-inspired songs which embark on different journeys.
Photo credit: Adi Helman
The world is quiet and peaceful in “Quiet,” illuminated by the magical nature. Observing the world with the wonder of a child, fascinated by the endless possibilities and colorations. It evokes a profound feeling of love in the healing sound bath.
The meditative “6.4.3” invites you on an introspective journey with your inner voice and higher self. Setting its scene in a sacred, humid cave, tapping into an ancient time and entering a trance state in a glitchy psychedelic encounter. Drawing influences from Eastern musical and ritual traditions, Angelic Circus created a unique listening experience.
Galit Aufgang’s ethereal, bewitching voice reminds of a mermaid’s enchantment, flowing into the dream, stealing your heart. Its stunning celestial texture has a therapeutic touch. Angelic Circus expands its musicality by blending grounding, modern elements into its experimental mix.
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REVIEW & INTERVIEW: KAHNIN “FAUMM”
Edgy, narcotic, evocative, “FAumm” is a fascination and an obsession. Brash beats whip the dancefloor; the track instantly takes you back to the best of 80s’ rock n roll scene wrapped up in the memory of psychedelic dance parties. Produced by Kahnin, “FAumm” is mixed by Grammy winner Philip Larsen (Katy Perry, Kylie Minogue, B 52´s) and mastered by Cassian Irvine (Björk, Gary Numan).
“The 80s were a bit of a blur for me,” said Kahnin, “A lot of clubbing and excess substance abuse all around. I lived in NYC at that time, so our stomping grounds were places like Danceterias, The Ritz, Limelight, and Webster Hall.”
“The 80s for me was a musical transition,” Kahnin added, “I personally loathed the primitive synth sounds of the 80s, but a whole lot of good music was to be found as well. Especially in the early 80s. Human League, Berlin, Eurythmics, FGT Hollywood, The Cure... and some monster albums as well, Thriller, Synchronicity, Let´s dance...”
Inspired by the repetition of “fa” in Talking Heads’ “Psycho Killer” and David Bowie’s “Fashion” -- “FAumm is a made-up word that holds the meaning of a joint in this song,” said Kahnin.
“FAumm is what makes you feel the music,” he continued, “whatever helps you escape from the day to day, whatever gets you to connect with the bump and grind on the dancefloor. FAumm can be anything you want it to be.”