I’ve mentioned before how I have a few ‘go-to’ labels that I’ll tend to buy all new releases from – ones that have proved themselves enough in terms of consistency and quality to pretty much have me opening my wallet instantly upon receipt of a ‘new release’ email.
Deep Distance – an offshoot of The Great Pop Supplement – is becoming such a label. The Great Pop Supplement were in this category years ago, with a combination of great music (tending toward the post-rock, 60s-tinged or psychedelia worlds) and nice packaging; Deep Distance follow suit in terms of packaging, but seem to focus on more electronic-based music. (Or, perhaps, less guitar-based).
Hellvete is a new name to me, but according to this have released several things on a variety of labels thus far. It’s a one-man project, from the mind of Glen Steenkiste, and Ode is a two-track album, one per side, each consisting of a long, sustained, pure drone. It’s not a drone in the sense of Sunn o)))’s brutal rumbling; instead, these two tracks are exultant, bouyant and amazingly uplifting, with rich layers of slowly undulating tone providing endless forward motion. It’s a little like the final moments of 2001: A Space Odyssey have been stretched to infinity – constantly approaching a perfect point in sound, yet never quite achieving that impossible aim.
The record is pressed on crystal clear vinyl, which is befitting to the purity of the sounds it contains. No credit is provided for the charming illustrations – or treated photographs – on the front and back cover, which show lacework that places organic scenes into a complex lattice structure.
Links: Deep Distance / Hellvete
There’s rather an air of mystery surrounding many aspects of this split 7″ single, pressed on white vinyl. Karen Novotny X is not an individual but a band; they take the A side and spin at 33 rpm. According to the notes on this record’s insert, their track was recorded in East London between winter 1979 and spring 1980 – whether this is actually true is another matter. This and their other releases are all quite recent, and the internet yields nothing that helps to position Karen Novotny X as anything other than a recent band. Unless a couple of different record labels have conspired to release archive recordings at around the same time; and unless nobody had heard of and written about this band before very recently; and unless somebody has taken it upon themselves to run a Facebook page for them which to all intents and purposes looks to be full of the things a currently-active band might share to promote themselves, well, I posit that they’re a band of The Now. Regardless, ‘Join Hands’ is nice, a kind of John-Carpenter-at-a-slow-disco tune that suggests a love of analogue synthesisers and spooky minimal electronica of the late 1970s.
Such aural pleasures are somewhat shared with ‘Near 86th’ by Samantha Glass, which occupies the 45 rpm B side of this record. Now, Samantha Glass isn’t exactly a person as such; it’s a pseudonym, alter ego or alternative name of somebody named Beau Deveraux, who has released cassettes and things through Deep Distance as well as other labels like Not Not Fun. The preferred jam of Glass/Deveraux is a smooth kind of hypnagogic-pop-it’s-okay-to-like – 1980s-tinged but more in terms of world-of-wonder electronic repetition than bombastic, hyper-compressed vocal tunes.
Deep Distance releases tend to come in stock label sleeves*, and this one is no different, although this is augmented by a hand-numbered insert, one side of which makes for a very mysterious mono cover image. As with many of the label’s releases, the artwork was put together by Dom Martin who runs both Deep Distance and sister label The Great Pop Supplement. The collage art used on the insert is by Ingrid Christie – this one, I think – a fine art graduate from the University of Central Lancashire who also completed two years of a science degree, including a 100% grade in mathematics. Apparently. Science + Art = Spooky Record Sleeves, it would seem.
Links: Karen Novotny X / Samantha Glass / Deep Distance