Born of collaboration between experimental sound artists Brent Mini and Ocular Bats, All Flesh is Grass works from the tenets of improvised noise and embellishes it with blazing percussion and an ear for curious detail. 'Storm' thrusts the listener headfirst into a frenetic interplay of virtuosic drumming and power noise, the duo flexing a fierce synergy in its controlled chaos. Written at the outset of the 2020 pandemic, the recording process behind the incendiary opener is itself something of an outlier relative to the creation of the album.
"They just sent me a drum improvisation, I added synth, they added guitar, I added more guitar, they added bass, and then we started messing with tape, sending each other different mixes until it finally coalesced into a coherent track. It was a really fun process - but we were never able to replicate that workflow again. All other tracks were either written by one of us, slightly tweaked by the other, or recorded with both of us in person." - Bats
Emerging from the intro's harrowing raze, 'I Do Not Fear the Calls of Trumpeters' is a "modular synthesis piece based around a repeating bassline built from an LFO plugged into an oscillator. Influenced by spectral and minimalist music, I structured the piece as one gradually-evolving texture that becomes thicker and more brutal throughout its runtime." - Brent.
'Carnicization' bears a snarling, spontaneous approach to composition. Improvised during a livestream with Bats on modular synth and Brent on drums, its of-the-moment quality and organic movements further solidify the duo's chemistry for generating noise that flows forth seemingly effortlessly.
'"1995"' offers a slice tranquility in the eye of the storm, standing out amidst a barrage of digital flame and cacophonous percussion that composes the bulk of All Flesh is Grass. The piece collages sample-based sounds "as well as field recordings taken from my daily life and repurposed musical ideas that we had abandoned" - Brent. Its zen gradually heaves back to maelstrom & breaking distortion, yet retains a meditative quality all the while.
The pummeling 12-minute closer is humbly described as 'a single take laptop improvisation using Pure Data' (shout out to MikeMorenoDSP for his patch). It runs the gamut of power noise and bookends the record in possibly All Flesh is Grass' most straightforward expression of the genre - closing the album on a note of robust, classic noise.
All Flesh is Grass mangles form on impulse, as if a hound itself consumed by its own frenzy. Its torrential expressions sound close to bursting at the seams, yet in the deft hands of Brent and Bats, the listener finds a cathartic release in its wake.
All Flesh is Glass was recorded from early 2020 to mid-2021.
Album cover by Ocular Bats
released October 21, 2021
About Brent Mini:
I make some noise but I'm more interested in an eclectic and evolving musical style than a specific style. My most recent project, "Life Mixtape", is a series of albums that also draws upon classical music, vaporwave, sound collage, prog rock, IDM, shoegaze, minimalism, free improvisation, hyperpop, and more. I also put out weird pop songs from time to time. Some of my biggest musical influences are Oneohtrix Point Never, A. G. Cook, Steve Reich, Nmesh, and My Bloody Valentine.
About Ocular Bats:
Ocular Bats is an experimental electronic producer with an ear for retro-futurism. He combines influences of early electronic music by artists such as Iannis Xenakis and Pauline Oliveros with instrumental hip-hop, dark ambient, and noise.
supported by 14 fans who also own “All Flesh is Grass”
A beautiful, almost glacially-stilled EP of gentle, poignant songs. Keeskea commands attention through the calm confidence that that can only come from being at peace with one's vulnerability.
These are carefully crafted songs, in which subtle acoustic instrumentations frame the vocal harmonies.
The production is crisply spacious, and the effect is one of lingering tranquility.
I hope a full album isn't far away. Highly recommended. Michael Mueller