Lost Landscapes reminds me why I like guitars. From the desolate to the destructive, Lost Landscapes takes you on an evocative journey. This album is a slow burn, and takes some listens to really explore the depths of, rather than relying on hooks. Beautiful and haunting, the drones call to mind the slightest hints of bagpipes in their use (in a good way). I'm staring at my shoes in 1992 forever.
Favorite track: This Could Be The End.
Manufactured by the quality duplication hands at Drongo Tapes Seattle, Lost (Cassette) Landscapes provides the opportunity for you to own a piece of the Landscape for your magnetized reproduction lifestyle.
Includes unlimited streaming of Lost Landscapes
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
A long-lost love letter to the first wave of shoegaze six-string pioneers, the guitars caterwaul in-collision with cascading waves of reverberation and acrobatic effects-pedal atmospherics. These tomes weave together sinuous threads of blossoming guitar leads shrouded in a kaleidoscopic array of effects that mess with the flow of time. From soft blankets of distortion to hazy clouds of noise, there is always a guitar-voicing at the center of the storm that propels the unhinged atmosphere forward.
Ambient Guitar for Active Minds
This is purity of sound ensconced in multi-dimensional fabric-as-megaphone from within.
This is intention expressed with physicality and grace carving a pattern of northern lights across the stratosphere.
These landscapes come with fireworks, phantom frequencies, and sirens calling from a distant rocky shore.
These waveforms dance with dramatic weight while cresting at the peak of their flow.
The expanding universe within speaks through vibrations.
The resonance of now unfolding.
Active music for ambient minds.
Lost Landscapes is over 80 minutes of spontaneous guitar composition, rippling-with-waves of effects pedal manipulation, bilious clouds of feedback, and laser-sharp tendrils of sonic-storytelling. Recorded in two passes of improvised experimentation, minimally edited and post-processed, then mastered by Heba Kadry at Timeless Mastering, these sound sculptures harness hi-fidelity emotions channeled like a lightning-rod straight to your heart.
Recorded over a long-weekend during the Seattle winter at the start of 2017, base-tracks were laid-down digitally in 2 sessions of single-pass improvisations, netting a couple hours of pure guitar expression. These base-tracks were then revisited the following day with a second improvised pass of solo guitar atmospherics across a few different sections eventually comprising the final 10 songs for the album. Each song is made up of 8 tracks: 4 tracks for each pass (2 mono 2 stereo). The mix was honed over the winter months of 2017 in Ableton Live and sequenced in Reaper, leveraging minimal post-processing, and was then handed off to be mastered in the spring of 2018.
In-step with the mixing and mastering, footage was collected during a daily 9-5 commute across the water from Seattle to Bellevue in order to produce a visual accompaniment to the full Lost Landscapes album. Soundtracked by the evolving landscapes and inexorably linked to a time and place in urban Washington, processing was applied to the visuals in an effort to mirror the unfolding soundscapes that were being refined through a process of daily iteration. What began as a physical expression manifested in the swirling effect-pedal aesthetic of solo guitar performance was melded to abstract visuals in an audio-visual ballet of tonality and psychedelic imagery.
Take the guitar-based lyricism of The Cure, Godspeed You ! Black Emperor, or The Grateful Dead and combine it with the barely-guitar noise-explorations of My Bloody Valentine, Jimi Hendrix, and Flying Saucer Attack...this is the sound of Lost Chocolate Lab | Lost Landscapes
- artist bio
Lost Chocolate Lab has operated as a noise-making unit since Minneapolis Noise Pop Shoegaze originals February (Carrot Top/ Saint Marie Records) disbanded in 1997. Formed as a platform to reach further into the moment through a series of mostly improvisational works that leveraged long-form musical expression, guitarist Damian Kastbauer has anchored LCL in its various incarnations through releases that encompass extreme noise, meditative ambient flute music w/ Julie Kastbauer, and full-on improvisational space jazz as a trio with Minneapolis drummer JP Hauer.
In its current incarnation the basic elements of improvisation, instrumental storytelling, and guitar-based expression have been synthesized into a pure expression of the effects-heavy solo guitars mucking-with the fabric of space and time. Fundamentally, these works are an attempt to channel the “now” of improvisation and tap into the flow of possibility from fingertip to speaker cone. After setting up a system of playback that allows for the dynamic manipulation of guitar and effects in realtime, the goal is to let it flow and bottle the lightning for repeated playback.
Guitarist Damian Kastbauer is a Technical Sound Designer working on the cutting-edge of technology with interactive audio and virtual reality. By applying similar principles of dynamic and interactive sound across the guitar fret and pedal board, he harnesses the power of an evolving, ever-changing expression that channels emotions-in-the-moment of improvised mayhem. The result is a rich tapestry of sound that aims to allow for the projection of one's life's experiences and attempts to serve as a prism to view the world through.
Guitarist Damian Kastbauer anchors LCL in its various incarnations. Currently operating as solo instrumental improvisations
ranging from: heavily effected, strikingly minimal, and nakedly electric guitar. Past releases encompass: extreme noise, meditative ambient flute w/ Julie Kastbauer, and full-on space jazz working as a trio with Minneapolis drummer JP Hauer.