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Dose VI: Bats in the Old Powder Mill

by Industrial Grade Acid

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madophelia
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1.
Bats In The Old Powder Mill 05:06
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2.
Rafter Blaster 06:13
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3.
HYDROPOWER 09:47
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4.
March of Myotis 07:48
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5.
Dystortia 10:52
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6.
VI VI Dosis VI 06:06
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7.
Camera Katharsi 09:21
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8.
Off The Rails 06:01
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9.
Solar Powered Big Brother 10:09
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about

Recorded on or around March 21, 2011, Dose VI was our sixth recording in the series of jam sessions we referred to as "doses" during those years. Dose VI again features the Roland VP-330 acting as a vocoder for the drum loops and sampled beats run through it. We did not keep extensive notes back then of what we use like we do these days, but Dose VI also features the RE-301 tape echo, as well as a Korg mini KP Kaoss Pad. Heavy amounts of distortion were used (and not from the miniKP), but we don't know what pedal(s) we used to achieve overdrive.

Extensive tape scratching and manipulation on a Sony TCM-200DV is a feature of some later tracks, and drones from the miniKP as well as a Korg Monotron were also recorded to tape to be played back through at variable speeds.

Earlier this year, Nikolai found a tape deep in storage with the words "3.21 Field Recordings" written as a caption, and this was likely the original cassette recording of us beating drainage ditch bridges with sticks near Brentwood, MD. Snippets of dialog and even an ice cream truck jingle can be heard as artifacts in the later songs. All sampled drum patterns in Dose VI were likely recorded from this tape into samplers (such as the SK-1 or SK-5), run through the VP-330 (as well as bypassed and recorded simultaneously), as much of the percussion throughout these tracks sounds very similar to the raw tape.

credits

released November 26, 2022

Mic Litter: Samples, Percussion, Recording/Mixing, album art
Nikolai: VP-330 (keys), miniKP drones and effects, some tape manipulation

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Industrial Grade Acid Washington, D.C.

Mic Litter and Nikolai Koppernick have been recording stream of consciousness jamming sessions with a revolving door of gear for over a dozen years. Along with occasional guest musicians, our sonic onslaughts range from mechanical percussion and howling analog synths to ethereal effects, digital distortion, tape manipulation, feedback loops, and ambient droning. ... more

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