Total redhead sister project to Fadensonnen, via PD - Electro-acoustic industrial field recording raga rock to celebrate the seasonal changing - Daybreaks is Seventh Sons on a hangover taking a line they found in the bathroom mid-session - A Night Gaunt Stares is total electricity worship at the alter of guitar and amp desecration, staring into the Nor'easter abyss as hedgehogs climb our minds - total loner self-destruction?
Digital Album and Limited Edition Cassette Available Exclusively on our Bandcamp
ACCELERATOR / ANDROIDOIDS / ELECTRIC CITY / FIRESTORM / SLIT WALKER / TENSION BLADE
Twelve track songs album from beneath the gutters of NYC - unbalanced guitar attack energy rock for the down and out nervous systems of the modern gutter world. Play loud for max frequencies!
DIGITAL ALBUM AND ART EDITION LP EXCLUSIVELY AVAILABLE AT OUR BANDCAMP
GUTTER WANDERER BANDCAMP REVIEWS: VIA CHRIS STIGLIANO'S EXCELLENT BLOG TO COMM: "Fadensonnen-GUTTER WANDERER LP (Fadensonnen) It's kinda strange listening to Fadensonnen wreak musical glory on old-styled technology, but given how I can listen to four-hundred-plus-year-old vocal compositions on my Cee-Dee player maybe trans-generational technological mixes and matches is a rather spirited idea after all. Mr. D continues on his over-the-hills-and-far-away guitar stylings (imagine a cross between all five of your out-guitar faves, and add some more) even dipping into some ACTUAL MELODIES when the spirit arises! Pretty hotcha outre-blare that should make all of Fadensonnen's fans happy enough knowing that the ultimate soundsquall has not been squelched no matter how hard lesser beings have tried."
VIA MATT KORVETTE'S EXCELLENT YELLOWGREENRED.COM :
"Wow, I love when a record like this shows up on my doorstep, a project I’ve never heard of (and surely few have) that completely slays, free from the restraints of modern society or, even worse, the music biz. Fadensonnen hail from Brooklyn, and I’ll have to forgive them for that, as Gutter Wanderer is an immaculate long-play record of pointless guitar fireworks. It sounds like the first Purling Hiss album (the one that was all scorching-hot solos and no songs), with less in-the-red distortion and more notes – endless, endless notes. Many of these tracks sound like the folks behind Fadensonnen left the Tascam four-track on fast-forward and decided to riff along with it, in wild swirls of guitar that recall five Demo Moe tracks playing at once, or Borbetomagus if their instrumentation was two guitars and a tape deck. I’m certain that at some point, there was a coherent riff or two, but Fadensonnen stacks a pile of guitars so large that one’s brain cannot focus on anything but its vast outline. What I’m describing could easily be a Merzbow-esque squall that you automatically tune out after a couple minutes, but Gutter Wanderer is constantly moving, bouncing off walls and stumbling over garbage cans like they’re chased by the cops. The confusing hand-made sleeve, wherein you have to fold this tiny little flap open in order to read any liner notes, is the perfect inconvenience to top off this mighty slab of hostile guitar music."
VIA BYRON COLEY on TWITTER: " new LP by fadensonnen, "gutter wanderer," is their best yet. two guitar metal machine excess -- Smashchords on scum "
VIA GRANT "GUMSHOE" PURDAM @ TINY MIX TAPES: " It only took a few minutes to get me hooked on Fadensonnen years ago when I blogged about the excellent White Night, hell’s answer to that tight Chrome Jackson LP that got anally Cerberized in 2012, or maybe those old Matta Gawa albums. Or maybe this: Fadensonnen are to guitarisms what Mincemeat Or Tenspeed are to pedal worship, both packing the frenzy and bluster of an impromptu shootout with a crazy neighbor. Gutter Wanderer slinks out of a smoky sewer and lets its demands be known early and often, and it goes a little somethin’-like-this-here-goes: Don’t worry about where, who, or why you are, and don’t ask questions like, “Where’s the singer?” or, “Who is this music for?” It’s for people like GUMSHOE, dammit (my name is not Gum!), and despite our small numbers you won’t find a group of more dedicated enthusiasts. The thrill of F-sonnen’s jet-propelled, battery-charged, free-wheeling/-dealing/-face-peeling attack lies in the intricate layers that uncoil and strike just when you figure it’s time to grab a snack. Also appealing is the unmitigated obsessiveness that must accompany such a sophisticated-yet-in-the-pocket guitar strategy. I play guitar, OK, and I’ve never seen the fun in maxing out its sonic capabilities for some weird reason, though I tend to enjoy hearing someone else do it, especially when they’ve got the chops of a Fadensonnen/Stephen Mattos/Mick Barr/etc. But just imagine the geeking-out it takes to reach the point where you can guide an entire album with what MUST be improvised guitar-sugar-death magick. There exist several counterpoints to PD’s and RD’s (yep, these are the names, far as I can tell) guitar theatrics, but they barely even register as small distractions buttressing a storm of tragic proportions. I wish there were some way to inject a little low-end into Gutter Wanderer, as my ears have, over the years, started to resent the treble-heavy production values of many an experimental musician. Thing is, Fadensonnen never asked for my permission, or yours. They fuck shit up, and you’d be a fool not to jump ship when you see them descend onto your freighter. Rarely does instrumental music cut so deep, and the heaviness equals anything you’ll hear in the metal world (save Grave Upheaval; that’s some satanic shit). This album may have slunk out of a radioactive gutter but it reaches for the stars and comes close to a full eclipse of the sun when hitting on all cylinders. The only question is: Which forward-thinking indie label is going to take a chance on the F-sonnen next? Make it happen, I can’t imagine waiting another two years for a Fadensonnen record to show up on my doorstep."
Four junk etudes in blues, dumbjazz, melodics, and laconic haze. Mostly improvisatory, these songs were recorded during the winter of 2014-2015 in Burlington, Vermont. The solo mini-album debut from RD.
DIGITAL ONLY RELEASE - Visit The Fadensonnen Bandcamp
Burnt out death rattle bad news from the underworld - music for a dead society? Two side long insomnias - the voices of voices inside the head passing time. Where's the number ? / Where's the dime? and where's the goddamn door to this goddamn city?
Digital Release / Handmade Limited Art Edition Black CD-R Available At Our Bandcamp
A disorderly duo - BRUTAL/MINIMAL II is a steamrolling in-the-red power minimalism guitar /percussion exploration - Greenpoint Nights is a echo saxophone nightmare from the abyss. High energy nourishment for your central nervous system!
CUSTOM HANDMADE DIGIPACK CD-R - (EDITION of 100 - SOLD OUT - COMING SOON TO BANDCAMP)
FEEDBACK 1 / BRUTAL/MINIMAL / VOID OF ICE / FEEDBACK 2 / VEIL / FEEDBACK 3 / FIRE ANIMAL
BROKE AND PISSED OFF IN NEW YORK CITY
Eight blistering solo guitar improvisations recorded in-the-red for maximum effect. This double album represents music as energy, sound, and electricity.
CUSTOM HANDMADE DUAL DIGIPAK WITH HAND PAINTED CD-Rs - (EDITION OF 100 - SOLD OUT COMING SOON TO BANDCAMP)
Via Christopher Stigliano's excellent BlogToComm :
another one from PD hisself, two platters filled with nothing but solo
electric guitar screech that's guaranteed to make all of those snooty
"classic rock" types say "my six-year-old brother can play that!" to
which you would respond "well, why don'the!" Frankly I am
not sure if any first grade type could perform on an electric guitar
the way Mr. F does, but if he could then boy will we have some hotcha
primary school talent shows to look forward to!
Echoes of Glenn Branca, Arto Lindsay, Rudolph Grey, Lydia Lunch, Von Lmo
(need I mention any more late-seventies En Why See underground
ax-grinders?) can be heard, and if you are one who still holds your
Lust/Unlust singles proudly to your boobies you might appreciate this if
even in the slightest. Pure (or even impure if you like) sound like
this has always been a cathartic experience in my life and it just might
do the trick for you better'n est, and I'd hurry up if I were you
because only 100 of these things were pressed up! "
Ah, yet another newie to sparkle my senses this week, the latest platter
from PD Fadensonnen and his partner in sound RD. On this go 'round the
duo make even more of an atonal blur of raucous spew than they have the
previous five or so releases, trying to do their best to make the most
hard-nailed sounds (viz a viz Chrome filtered through Les Rallizes
Denudes' amplifiers) utilizing everything from anvil and snake phase
shifter guitars and tape manipulations to stylophones, and rather than
coming off like typical ten year olds jerkin' 'round with Big Brothers'
stereo equipment this does take off on a rather feral bent. If you are
one who is searching for the missing link between WHITE LIGHT/WHITE HEAT (or side two of FUNHOUSE) and METAL MACHINE MUSIC, you may have found it right here!!
Personal faves are "Lunar Stomp" and "Manhattan Tongues" (yours may
differ), but "Snake Charmer": does have a certain appeal like one of
those Can Ethnic Musical Forgeries. Whatever your likes, this is one
that wouldn't look or sound too outta place in your industrial/avant
music collection where it and the entire Fadensonnen catalog belong,
Even some of the most open advocates of the Stooges' seminal 1970 album Fun House couldn't
stand its final song "L.A. Blues" for its unsettling formlessness and
perhaps inability to provide a climactic rock anthem closing. Hearing
Fadensonnen's White Night makes the thought of their seething
even stronger, for the album is essentially that same abrasion spread
across 48 minutes and even less intelligible than the Stooges' sprawling
On their debut, the New York duo explore free-rock obfuscation, rife
with grooves awash in marbleized amplification. Though Fadensonnen
haven't the slightest air of black metal in them, a comparison to Wold
wouldn't be too far of a stretch: amidst the sonic blur-- all percussion
muffled and the definition of other instruments abstracted-- a
curiosity of what lies beneath prevails. The liner notes dispel that
mystery, though, listing stylophone, toy saxophone, slide whistle, and
tape manipulation among others, but whether they're discernible is
another discussion in itself.
White Night has potential to be the wildest psych-rock
discombobulation of the year, filtering rock bombast through the
abstruse flavors of musique concrete, free jazz, and noise. Muscular,
flange-doused chords emerge from the opening of "Black Heat" just
seconds before cymbal clatter and wah noodling consume them whole.
Fadensonnen are keen on disorienting listeners, but they employ more
than barrage tactics: they provide a defined (albeit confounding)
progression for the following "Fire Of Nights", for upon reaching an
apogee of damaged guitar swathed in screams, it dissolves into an
understated drone, accumulating reversed clangor and sweeping back into
chaos. Among the most schematically piquant is "Do The Slide", lost in
the elaborate cognition of assorted percussion and electric tampering.
It's not difficult to find that Fadensonnen have a method to their
madness, but chances are that only they themselves get it.
I’ve never understood why the word “busy” carries with it a negative
connotation. I’ve had my drumming called “busy,” so perhaps that’s a
personal quirk of mine, but when it comes to describing a band’s
attributes, why isn’t “busy” considered a compliment? Would folks rather
hear something “lazy,” “laid back” and/or “ill considered”?
And so it is: Fadensonnen
are a “busy” band, but in the best sense of the word. It’s as if a
metric ton of high-hat swipes, guitar squiggles and candy-cane effects
swirls have been poured into a funnel, then pumped out as high-energy
BB’s in humble, bite-sized form.
Or at least that’s how the first few tracks, “Hudson River Blues” and
“Black Heat,” pan out. Trudge on, however, and you’ll find yourself
trapped in a withering blizzard of noise snow, white-hot and blinding as
battery acid poured on the ol’ peepers. Eventually the pattern turns
back to the frenzied onslaught described in the previous paragraph, and
in no way is that a discouraging development. If I were to nit-pick, I
suppose I’d request a bit more variation once the all-out squall hits;
nothing major, just a few more nudges this way or that to pinch me out
of the improv dream I keep drifting into while the assembly line is
“Lunar Stomp” comes close to offering a more herk-jerk premise with
its brutal bumper-car bounce, and the possibilities revealed by
15-minutes-plus closer “Onu Ba” shine smilingly upon future variety;
still, at time the scrum becomes so intense the brighter colors mash
into brown purely by dint of sonic aggression. Which is, actually,
pretty fuckin’ cool if you think about it but perhaps not the best way
to make the inner ear tingle and/or exhibit the credentials of the
players (if you must know: shit, all I got is they’re attached to Black To Comm in some way, and one of them is in King Crab).
Then again, it was likely their distinct intention to do exactly what
they did, which is marry the improv instrumentation of bands like Matta Gawa,Talibam! (both also duos), Toy Killers and Notekillers with hard-psyche and the all-out brain-kill of the loudest noiseniks/noisekings/noisads like The New Blockaders and John Wiese.
They’re extremely successful, almost painfully so, which leaves the
question: Where do we go from here? Have Fadensonnen backed themselves
into a corner with the extreme teeth-gnashing of White Night?
I’m sure they’ll be fine.
Is it a surprise that Weasel Walter
mastered this session for CD? Oh FUG-EXPLODE no; his fingerprints rest
all over this recording, particularly in the way the sonic cavalcade
collides against itself while retaining its distinct pieces throughout. I
mentioned earlier that the instruments occasionally “mash” together and
I figured I should clarify that: Often within White Night I find that the only thing mitigating
the madness driving beneath the torrential muck is the crystal-clear —
yet satisfyingly damaged — production. If it weren’t for a skilled hand
separating the pinks from the yellows, blues and reds you’d end up with a
smudge of skronky shit (though I’d still probably dig it).
A certain PD and RD are responsible for the chaos of this album. You
should be on your knees. In chains, preferably. This is music of utter
bondage. Once you enter the album, you will be defenseless against its
Charms, of course, is a relative term. The distorted riffage and
generally deconstructed lines of the songs (a loose term, to be sure)
are aggressive and mean. The sound is abrasive and harsh. The effect is
So you get it or you don't. These are songs, not just tone poems, and
they do say something. They probably aren't the future of rock and roll
(though I wouldn't rule it out), but they're goddamned thrilling. Chaos
abounds and life flows.
And not inconsiderable brilliance. Absolutely lovely fare, if you
construe lovely the way I do. Fadensonnen is mean, rude and avaricious.
If you are a
paranoid schizophrenic obsessed with human slaughter and small animal torture,
and you’ve suffered multiple concussions and an inner ear injury, then you’ve
already heard this record. In your head.
" . . . LIVE AT ACTIONIST STUDIO just happens to be the latest release
this unheralded (and under-documented, under-appreciated and
under-weight for all I know) musician has dared to unleash on us modern
music maniacs , some of us who still harbor some hope that there's
interesting underground avant garde rock being made a good thirty years
after it all sorta went 'n deep sixed!
lotta the same aspects of previous Fadensonnen releases can be
discerned, but I was able to pick out a whole batch of new influences
here (or was that just my ears hallucinating?) from Les Rallizes Denudes
to even some of those Kongress workouts that I thought had only graced
mine ears (esp. the one where Von Lmo was extrapolating on his own
trapology!) It is heartening to know that people still play with
stylophones! A pretty hotcha way to begin the new year if you ask me,
and if this is any sorta start I just hope my hard can stand it these
next twelve months!"
Who'd've thunk a brand-new Fadensonnen-related release would've made its way to my door this
soon? But this just ain't any ol' Fadensonnen release, but one
featuring the man in a solo setting handling all of the instruments
(which include, besides the featured Amphetamine
Lead/Feedbacker/Drone/Anvil Rhythm/Black Hole Lighter Slide
Guitar...drums, percussion, tape manipulation, AM/FM clock radio and toy
saxophone!), and it all sounds pretty disturbing, but in
a great, life-reaffirming kind of disturbing way! Thirty-four minutes
of total high-energy rock abandon which has me thinking a whole lot of
the infamous Doug Snyder/Bob Thompson DAILY DANCE album which
should be so ingrained and embedded into your psyche that I won't even
bother hitching up a link to one of the many on-line reviews of it I
have written o'er the years. Let's just say that if you like hard
distorted acid guitar wailing and manic percussive scrunch being played
over what sounds like one of those old John Cale tape experiments that
were released a good decade or so back then this is the one for you!
Cee-Dee closer "Uno Lapis" earns points for exceptional tape-loop drone
repeato riffdom unheard since the days of at least READ ONLY MEMORY.
NIGHT OF SHAROQUE COUGHS / SWEET JUDY BROWN / GNID GNID
Three tracks spanning the extremes of Fadensonnen - improv guitar action meets pop meets tape cut pileups!
CUSTOM HANDMADE DIGIPAK WITH BLACK CD-R - (EDITION OF 100 - SOLD OUT - COMING SOON TO BANDCAMP)
BLACK EP REVIEWS
Via Christopher Stigliano's excellent BlogToComm :
Fadensonnen-BLACK EP CD
The third and last in the Fadensonnen trilogy keeps up the high-powered
amped up electronic rock of the first two delivering more of that total
eruption free music that I kinda thought went out of business around
the time REM began replacing Chrome as a template for youthful rockist
exuberance. Echoing a variety of hot eighties underground flashpoints I
remember (the MX-80 O-Type and Half Life spinoffs come to mind) and
don't (well...maybe Mark Hanley's Sister Ray side project Room
101), Fadensonnen really know how to take the basement recording
situations so prevalent in the days of cassette kultur and update the
entire shebang for the present, not quite an easy task considering just
how vague the notion of "the present" is. This ain't "industrial" or any real variation thereof, but some mighty engrossing underground
rock and roll that takes the best moments of the past fiftysome years
of sound exploration and runs wild over the hills with 'em! Only hope
that this ain't the LAST we're going to hear from Fadensonnen!
If you haven't been able to get these very limited (100!) edition
Cee-Dees and would like to hear what you're missing, go to Fadennonsen's
blog (see link up on left) where not only have the entire contents of
the last three releases been posted, but videos along with them making
for a particularly stimulating audio/visual excursion if you ask me.
Actually, don't ask, because I haven't even had the
opportunity to see them yet! Who knows, maybe they consist of nothing
but the same cover graphic staring you in the face without any change in
the picture or variation whatsoever just like every other upload which
might be good for the ears but boring for the eyes. If I were you and I
wanted to hear this amazing screech I'd head for this blog right now!
Fadensonnen is back in Black for their third color-titled
half-hour EP. (I can’t wait until they cross the entire color spectrum
and end up at Burnt Sienna or Turquoise.) The opening track, “Night of
Sharoque Coughs,” features some lonesome guitar picking that is
occasionally interupted by schizo workouts on the drum kit. “Sweet Judy
Brown” is the first song in the Fadensonnen canon with vocals, which
remind me a lot of the singing on The Jesus and Mary Chain’s Psychocandy.
Careful, guys–you might attract a fanbase. “Gnid Gnid” shuts down the
album in a more atmospheric rock vein with tin cans dripping in the
background as distant drums throb and the guitars chime and moan on into
a lengthy, churning din. Here’s hoping that PD and RD will be joined
by R2D2 and C3PO on their next EP for a Fadensonnen quartet take on the
bar scene from Star Wars.
Gee, I didn't think that people (even myself) listened to WHITE LIGHT/WHITE HEAT
anymore. Well, at least the first of the two numbers on this "EP CD"
sounds as if the two participants (a PD and RD in case you're keeping
score) had been spending the past two weeks playing one of those
budget-pressed early-seventies ARCHETYPES versions of that
longtime classic before sniffing up enough discarded Bic lighter fumes
and recording this high-throb exercise right in the middle of the
Gowanus Canal (and it sounds it!). The other track reminds me a
bit of those late-eighties solo Sonny Sharrock excursions for some
reason and is equally recommended especially if you, like me, looked so
desperately hard for any life or excitement throughout that feelygood
decade. Anyway, if you liked Fadensonnen's previous effort which I
and quite favorably at that you might like this one as well, and if
life wasn't being kind enough to us all already there's even gonna be a
third volume heading our way this coming summer! Can you wait? Well, at least I have something good to look forward to these upcoming months!
Whereas Fadensonnen’s first album, Grey, was named after the most well-known type of alien, White
pays tribute to that most beloved paranormal phenomenon: the ghost.
(Punching the cobweb-covered clock at just 25 minutes, it seems that the
latter could have been included on the same disc as the 30 minute long
former.) Shyly boasting just two tracks, the EP kicks off in high gear
with the duo of PD and RD a-pickin’ and a-grinnin’ their way through
“Slit the Moon,” whipping up a dense, sloppy electric guitar maelstrom
supported by a backbone of simple, Velvety drum thwack. “White of Ice”
flip-flops the mood with a much more subdued sound stage filled with
spacious drones that hover like body wash mist in a dank dressing room
as gently-picked melodies tease some downwardly mobile stripper’s
alcohol-logged head into a stupor.
EAST RIVER BLUES / FUNERAL FOR MURDERED ORANGES / CAMBRIDGE-UPON-MORNING / BROOKLYN GAMELAN / GLACIER NIGHT 30:14
Fadensonnen's debut EP - high energy rock meeting expansive guitar duels stretching into the phase shifted stratosphere.
CUSTOM HANDMADE DIGIPAK WITH BLACK CD-R - (EDITION OF 100 - SOLD OUT - COMING SOON TO BANDCAMP)
GREY EP REVIEWS
Via Christopher Stigliano's excellent Blog To Comm:
Blog To Comm 2011 ALBUM OF THE YEAR - "ALBUM OF THE YEAR: hard choice really...I mean, which Fadensonnen Cee-Dee should I pick? Well, of the three I guess it's platter #1 thatearns
the highest honors for this year. Given the overtly squeaky-clean image
that "rock music" had saddled on in since the eighties it's sure
wonderful to hear something overdrive again. "
an unsolicited item I received in the mail today complete with a note
that read "Hi Chris, High (Psychic) Energy Rock didn't die - it seeped
into the waterways of Brooklyn. Hope you enjoy this!" Now, some might
think that I would revert back to my true self and tinkle sprinkle all
over this particular disque like Iggy's girlfriend would to Iggy
himself, but I refuse to do what would come most natural to me
and hey, will give this disque a more-than-decent writeup! Fadensonnen
are a pretty hotcha group that kinda reminds me of some of those
experimental aggregates of the past twenty years who have been springing
up from some of the most bizarre places imaginable...Charlamanides 'r
whatever they're called and some of the Japanese post-Rallizes Denudes
acts come to mind. And (given the weirdo cover graphic reprinted above) a
bit of the specter of Chrome seems to be looming high above as well.
Hot electric guitar blare with psychedelic hints that remind me of
post-Hendrix scronkings w/o the vocals, or any other instruments for
that matter. A "PD" and "RD" make of the group and their wild
feedback-drenched sound is enough to give heart and hope to this
way-outta-it oldtimer who still follows Lester Bangs' dictum about
feedback being the best thing that happened to the electric guitar (and
all that Lou Reed did on METAL MACHINE MUSIC was take the guitar away!). You might think it's boring but personally I find the entire thing very intense, engaging, mesmerizing and
invigorating simultaneous-like. And who knows, you might too! "Highly
recommended" way for you to toss out more of your hard-begged!"
This self-releasd EP comes out of the blocks lickety-split. East
River Blues is a semi-immersive cacophony of shredded guitar squawks,
clattering drums and rabid tape manipulation that fits the band’s
description of themselves (as much as I hate it) as being “High Energy
Improvised Rock and Roll.” Still, it’s all a little bit trite and
banal, which is precisely what improvisation shouldn’t be.
next four tracks slow the pace somewhat, instead concerning themselves
with the creation of dry desert atmospheres akin to those favoured by
Earth of late. Funeral For Murdered Oranges is ponderous and arid,
plodding along for three minutes or so without really going anywhere
and Brooklyn Gamelan – although spacier and slightly speedier – is
When they give themselves the space
and time to open up and develop like they do on Cambridge-Upon-Morning,
Fadensonnen prove to be a pretty captivating duo. Here they strum,
twang and bend to good effect, conjuring up Leone’s gigantic landscapes
and taking off to soar above them.
The final track
here is Glacier Night, a sprawling, dust-blown journey through Death
Valley that defies its chilly title and finally collapses in on itself
in a maelstrom of thunderous drums and pained guitar expression. When
Fadensonnen allow themselves to stretch out and flow like this they can
be quite an absorbing unit. It’s just a pity they don’t do it more
often. - Steve Dewhurst
and RD (I’m on an initials-only basis with these guys!), also known
as Fadensonnen, is a duo of din-makers who hail (a cab) from Brooklyn,
New York. (Soon to be re-named Old York, or maybe New Spice.) On their
alien-titled debut CD, Grey, they offer your brain / ears combo a
half hour’s worth of surly sonics that crawl the gamut from noisy
guitar feedback with maniacally hyperactive, freeform drumming to
sparse, plaintive pickfests to all-out drone / riff-athons–all
reverb-soaked and recorded in murky lo-fidelity. This shirt, I mean
short but sweet set is sure to please electric fans of sub-underground
drone / shamble rock–especially from Japan and New Zealand.