Soda Gong posits a sovereignty predicated upon egression, naivety, and fluid understandings of the sacred and the sublime.

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Etelin, Hui Terra

Written and produced by Alex Cobb. Mastered by Matt Colton. Designed by Alex McCullough & Niall Lewis.

A1. Vixen And Kits
A2. Hour Here Hour There
A3. Water The Ferns
B1. Little Rig
B2. We Don’t Have To Eat Our Hands
B3. Been Really Good Today

“Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb’s Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM records, Nuno Canavarro’s “Plux Quba,” and Microstoria’s “Init Ding” – records that appeared to produce both stimulating and soothing effects on a newborn’s nascent consciousness.

Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifests in eccentric, alchemical fashion, as though forming in processes of sublimation – solids dissipating into vapor – and deposition – clouds resolving and dropping to the ground in piles – to an obscure and domestic rhythm. There’s the purveying sense of moving within the boundaries of small, hermetic ecosystem.

This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in “Little Rig”, largely sampled from Cobb’s son’s voice at a just week old. It is emotional music – devoted, affectionate, and playful.” —Matthew Kent, February 2018.

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Kaspi & Stride, Leanings

Music by Kaspi & Stride. Produced by J. Tripp. Recording and additional production by Brian Foote. Additional Engineering by Davey Jewell. Additional contributions on KAPTOXA by Mary Lattimore and Jon Leland. Mastered by Rashad Becker. Design by Alex McCullough and Niall Lewis

A1. Gozi
A2. Vishing
A3. Family / Group
A4. Padonki
B1. Dwell Time
B2. Kaptoxa
B3. Variant
B4. Walled Garden

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

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Flaty, Generic Targz

Written and produced by Flaty. Mastered by Rashad Becker at D&M. Artwork and design by Alex McCullough and Niall Wynne Lewis

A1. Elevation
A2. Init Ignit
A3. Self Assembled
A4. Thread
B1. Praaai
B2. Key Keeper
B3. Horn of Plenty
B4. Pokrov

Soda Gong presents a razor sharp collection of rigorous and imaginative new music from Moscow-by-way-of-St.Petersburg-based musician and producer Flaty. "Generic TARGZ" places Flaty's precipitously complex drum programming and keen ear for atmosphere and space at the forefront, offering up a dynamic array of techno, ambient, generative footwork, and other tougher to pigeonhole rhythmic experiments. It is a dizzying and cohesive document in which ethereal productions, such as "Praaai" wherein a bewitching vocal pad hovers over delicate, pin-prick percussion, sit comfortably alongside tightly controlled chaos, as with the synapse-knotting "Thread" and heavy-hitting "Horn of Plenty".

Over the past few years, Flaty has released a wealth of diverse and uniformly excellent music under monikers such as AEM Rhythm Cascade, Dada Ques, and Wrong Water. He is most closely associated with the influential GOST ZVUK label, but his work has also appeared on imprints such as 12th Isle, Muscut, and his own ANWO Records. Although Flaty serves as his primary alias, "Generic TARGZ" is only the artist's second full-length under the moniker, following 2016's "New Suggestions", a high-water mark in the impeccable GOST ZVUK catalog.

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04. Obsidian Pebbles Hat

Black embroidery on denim pigment-dyed dad hat. Front/back print. Limited to 20. Designed by Alex McCullough and Niall Wynne Lewis.

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03. Invisible Arrows T-Shirt

Double sided screenprint on Bella Canvas 3001 tan shirts. Limited to 30. Designed by Alex McCullough and Niall Wynne Lewis.

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02. Articulate Structures Hat

Black embroidery on khaki dad hat

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01. Trace Window T-Shirt

Double sided screen-printed marl grey shirt with woven Soda Gong label. Numbered edition of 65. shipping out on or around November 18, 2019