What's in the Works?

After all the dust has settled from the recent flurry of exhibitions, releases, recording, visitors, death, disappointments and cancellations Goat Eater Arts is on track to bring you some new releases from artists you may or may not be familiar with.
We've got 3 new CDr releases on the horizon from the likes of Italy's king of the depraved and perverse Fecalove, Oklahoma's minimalist doom outfit Persistence in Mourning and the inimitable sound sculpture of Nicholas Szczepanik.
More information on these releases will be coming soon. For now, be patient as they'll definitely be worth the wait.

Also in the pipes is Goat Eater's foray into the world of tapes beginning with two we're sure you'll enjoy.
Both releases will be splits between Hoor-paar-Kraat and another artist.

First will be the long overdue split between HpK and long time friend and collaborator Richard Vergez also known under the moniker of Drowning the Virgin Silence. Both tracks on this split clock in at just over 5 minutes and explore the sillier, more whimsical side of each artist, showing that we don't always take everything so seriously. It is bound to delight and confound the listener and may even be our first shot at pop stardom.

Drowning the Virgin Silence has a new release available. "Under the Sulfur Sky" has just been released by Reverb Worship. Go there to pick it up and have a look at the many other great releases they have in stock.

Second is a split with Eureka, California's Psychic Fare, headed up by Damaged Restrooms label founder, and ex drummer of the now defunct Plague Lounge, Bandon Taylor. Psychic Fare embodies the true meaning of psychedelia and we're proud as hell to be working along side them as they're an incredibly inventive band and wonderful people, to boot.

Psychic Fare is in the process of releasing their second full length, "Wet Wire" a follow up to their debut "The Slow Drag", on their own imprint Damaged Restrooms. Having received an advance copy, we can say, without doubt, that this is a truly captivating and mind blowing experience and we at Goat Eater encourage you to check it out.

Also in the works is the ultimate release of "The Eureka Tapes" (The Complete Recordings) to be issued as a joint effort between Small-Doses & Basses Frequences. This 2 CD set will re-release all eighteen tracks, from the three volumes of the Eureka Tapes; "A Whisper in the Sow's Ear", "Graduating from Clocks to Watches", "The Taxonomy of Divine Organisms" as well as previously unreleased and scarcely available tracks recorded during the same sessions. At this time, this release is still in the planning phases.

That's all for now. Until next time; be just and if you can't be just then be arbitrary.

I O Pan
A. Mangicapra & the Goat Eater family.

Reviewed on Smooth Assailing

Very nice review of Graduating from Clocks to Watches (Eureka Tapes Vol. II)

http://smoothassailing.blogspot.com/2009/03/hoor-paar-kraat.html

graduating from clocks to watches (eureka tapes vol. ii) c55
[2009, peasant magik]

visual / sound artist anthony mangicapra (currently residing in northern california) is the principal member of the aleister crowley / greek / egyptian mythology referencing hoor-paar-kraat. he also co-runs goat eater arts. over the course of this project's lifespan he's been known to bring additional members into his fold, and this release is no different, though his more frequent collaborators (brandon samdahl, richard vergez and duane hosein) are absent. he's joined instead by dr. vanessa sinclair (his lone accomplice on the first volume of the eureka tapes), and what i'm assuming is the malchiodi clan: apollonia, zoe and manny.

multiple layers of ambient waves open up the cassette's first track, lacking a cast shadow. they'll gently sway back and forth by themselves for a few minutes until the introduction of metallic clangs and chiming percussion. one layer of the background ambiance will slowly sweep through in loud vibrating hums as the focal noise seems to be someone diligently ripping every page out of the phone book (with amplification). it's definitely a unique sound and is rather jarring given the entrancing quality that is surrounding it. the later juxtaposition of short, shrill drones with the serenity of the (set-in) minimal soundscape is great.

habit and the smooth sailing of the psyche sounds like what happens when a bunch of people on psychedelics come across a pile of metal objects and decide to be a band. at least it's just psychedelics, or this could have been a nightmare... though it's not far removed from a bad trip. habit actually starts off pretty sparsely, but when five people are sparse all at once, you tend to lose some of that minimalism. i hear banging, plucking, ringing, metal droning, tolling, additional clanging... then later, the warbling of analog manipulations. basically, it's a cacophonous symphony. i'm appreciative of the repetitious ripple of droning that's providing a coherent anchor as all of the disjunct organic noise, and the manipulated noise, form an unholy union... otherwise, my head would throb from too much strange sounding shit all being piled on top of one another, but since that drone's there, i like habit just fine.

hoor-paar-kraat will mellow way out for departure of the icicle man. this has the feel of an interlude, but it's hard to call it as such when it's nearly eight minutes long. this is just drifting ambient synthesizer peppered with brief snippets of backwards manipulations and occasional distortion. it doesn't do very much, but it sounds soothing, and does serve as a transition from the claustrophobic nature of the previous track.

the manipulated vocal recordings of relics of the inheritance, which starts off side b, kind of creeps me right the hell out. i don't even know what the hell the guy's talking about, but his slowed down voice takes on this demented whine that fucking disturbs me. another thing that accentuates my unease is the tense combination of plucked strings played in conjunction with backwards, sped up manipulations of said strings. harrowing. good thing (for my sanity) it's only three minutes long.

graduating will continue its turbulent journey from relatively normal to frenetic and back again with the eight minutes of the broken windows of a fertile world. this is hands down the best of their not so crazy pieces. it opens with field recordings of running water and a main layer of great guitar melody (a touch on the bleak side, but whatever), which is complimented by a low acoustic drone. after the water runs dry, in come soft, vibrato howls in the background. those will soon change into grating screeches, like moving a desk with rubber stoppers on its legs across a (mile long) tiled floor... or, evil monkeys. i love how long it takes for each occurrence to eventually fade away.

the final track, the self is an onion-self begins with a distinctly dank mechanical atmosphere, which springs forth to my mind, being in the bowels of a huge ship. that will develop into a rad rhythmic pattern, aided by thunderous booms in the background. self soon briefly incorporates an odd noisier layer; a loud, vaguely digital, sputtering drone, which clears out for a new droning wave, seeming to emanate from some of the pounding in the dark recesses. that will then get broken down wonderfully into fractured segments which swoop into self's forefront. after those will pass, i can hear that pattern, in its unmodified form, lurking in the backdrop. shortly past the halfway point there will be a few calm minutes where nothing extraneous is happening to the track's layered central rhythm, though there will come one more passage of commotion, which flashes by, and then it's placid for the remainder.

graduating from clocks to watches is weird, to say the least. kind of creepy, too. it's also really fucking good. even at its oddest peaks, never did hoor-paar-kraat abandon a semblance of structure, either through rhythm or a general repetitive (and pleasing) melodic tone, which kept their work fairly grounded when it could've easily strayed into (deep) left field abstractness. it also helped that the weirdness never seemed forced, i couldn't pick up on an intentionally dark slant, but the chilling aura was certainly felt at times. not to mention that the sum of what they were doing appeared to have at least a modicum of original thought behind it, which is always great (when it works).

Release the Press

The Box contemporary art gallery is proud to present the works of artists Duane Hosein and Anthony Mangicapra. This collection of new work will open at the Costa Mesa gallery on Saturday March 21, 2009, from 7:00 PM until 10:00 PM. The exhibition will run through May 2, 2009.

The season surrounding the equinox is a time where darkness and light have equal times to co-exist. Artist’s Duane Hosein and Anthony Mangicapra have taken the charge and created an exhibition worthy of this time of change and hope. Above and Below is an exhibition where each artist has researched the underlying concepts of heaven and hell and put those ideas to canvas, paper, and music.

Trinidad born Florida artist Duane Hosein’s pen and ink works are a testament to his mastery and control. “I approach every piece with the fervor of an iron-fisted dictator” Hosein admits, “It is all about the detail. It is tedious, but therapeutic”. His work for Above and Below is the culmination of research into different religious and cultural interpretations of hell and the creatures and experiences that inhabit the demonic region.

New York artist Anthony Mangicapra’s canvases are dedicated to the heavens for this exhibition. After extensive research into canonical, occult, theosophical, and ancient texts, Mangicapra’s works portray the divine as no other artist could capture. “I want to create beauty” Mangicapra says, “but I can’t control that. I am just a conduit for ideas”.

To accompany the artwork, both artists have combined to create a soundtrack under Hoor-paar-Kraat to be released by Goat Eater Arts in concurrence with the exhibition. Mangicapra describes the experience as “painting with sound”, where everyday sounds lose their original qualities and re-emerge manipulated into a new language of meanings.

Background on The Box gallery
The Box gallery is a collaboration between curator and director Johnny Sampson and Splitends owner and stylist Christopher Hall. It is a multi-use space, combining a minimal boutique salon with a contemporary art gallery. Located in the heart of the Costa Mesa SoBeCa district at 765 Saint Clair Ste B, The Box gallery and Splitends offer an unconventional, progressive venue for art and style. For more information, log onto The Box gallery or call 714-724-4633.
Press Contact Information
The Box Gallery
johnny@boxboxbox.com
714-724-4633
765 Saint Clair Ste B Costa Mesa, CA 92626

Source URL: http://www.boxboxbox.com

Tunes Above and Below at The Box

Taxonomy of Divine Organisms (Eureka Tapes Vol. III)
Goat Eater Arts edition of 25
Made exclusively to be played during the opening of "Above and Below"
an exhibit of the works of
Anthony Mangicapra & Duane Hosein
Opening March 21st 2009 EV
at The Box Gallery in Costa Mesa, California
More information on this release, soon.
For now, read more about the exhibition
HERE

Get Brainwashed with Us.

Yet another wonderful review from the good folks over at Brainwashed

Hoor-paar-Kraat - Graduating from Clocks to Watches (Eureka Tapes Vol. II)

Written by Henry Smith

"With well over 20 releases to its name, Anthony Mangicapra's Hoor-paar-Kraat project has taken on many guises over the years, containing no less than 14 different collaborators over the course of its varied discography. No matter the personnel though, the unit has consistently pushed at the boundaries between drone, noise and musique concrète to masterful effect. Here, Mangicapra teams up with four cohorts and comes up with a beautifully consistent and thematically realized piece. That it has been printed in a relatively large run (for this sort of release anyway...) of 200 is good news, but unfortunately not so good that anyone who wants one can afford to bide their time should they desire a copy. Such is the tape world I suppose; c'est la vie.

Consistent with the standard working mode of the band, this release tip-toes around the darker precipices of its various genre dabblings without ever submerging into total blackness. Spread across the six lengthy tracks are thick and tactile dronescapes, disturbed vocal babblings, and creepy guitar dirges atop squawking synthesizer cries. This dark and mysterious atmosphere, consistent with the group's enigmatic existence, is hardly a dip in the relatively safe waters of the overdone doom and gloom rock pursued by so many though; Hoor-paar-Kraat merely use this as a starting point from which to uncover deeper pockets of mystery. That they never tell their listener exactly how to feel is one of the great--and ultimately frightening--strengths they display.

Each track here more or less represents a single approach, and the patience exhibited in working within those specific and relatively limited fields makes each piece its own whole without becoming so cluttered as to take away from the album's sense of focus. The first side, for example, opens with "Lacking a Cast Shadow," a slow and smooth drone buildup that shimmers with gray stillness as swathes of air bellow beneath scratching claws and tiny bells. Nearly unmoving, the piece serves as a palette cleanser, easing the listener into the decidedly more elusive and eerie version of bleak pursued on "Habit and the Smooth Sailing of the Psyche." That this too finds its groove, opting for odd tape clatterings and distant, crawling gamelan moves that keep the descending trajectory of the album as restrained and patient as possible.

If the first side of the tape is the journey downward—especially with the closing "departure of the Icicle Man" and its dark and knotty drone loops—then the second side is the arrival and subsequent blind exploration of that realm. "Relics of the Inheritance" features odd guitar string tuggings and hollowed out verbal ramblings that leave little to grasp on to. That the group is willing to do so is wholly unsettling, and remarkably effective as a logical progression from the hints of this amorphous approach presented on the first side.

Perhaps the most oblique and overtly gloomy material on the tape is found on "The Broken windows of a Fertile World," whose bird calls and playground chatter hover menacingly under austere guitar explorations. This is a sparse and dismal landscape indeed, but Hoor-paar-Kraat handles it as delicately as it does everything here; the piece never erupts with anything near a climax, instead floating with delicate hostility whose unending patience grinds any safety net to a pulp, leaving you fully unsuspecting of the harsh blasts of static din that erupt on the closing "The Self is an Onion-Self."

The keen sense of timing and clear division between approaches on each side marks the basement academicism of the release. While many artists working in this vein achieve liftoff with nearly every track, it is refreshing to hear a unit at work that understands the power of sonic confinement and the dire connotations of time. While the title may suggest a technological move forward, it also means that the clock is always present, counting down the hours one by one to be monitored at your convenience. And this is just the sort of dark momentum forged from track to track as this fully realized outing unfolds."

Ding-Dong! Earbows for Brefix!

That's right, the long overdue release of the third Hoor-paar-Kraat LP "A Doorbell of Earbows for Brefix" (Goat Eater Arts/KNVBIRecords) is now available.
At this time, it is available directly from your good friends here at Goat Eater Arts for what we feel to be the reasonable prices of $14 postage paid in the United States, $17 to Canada and $22 anywhere else in the world.
Payment can be made via PayPal to the ID of HowlinMadMurphy@hotmail.com
Intergalactic buyers are encouraged to contact us for shipping rates.

Copies will soon be available through such fine distros as RRRecords, Hanson Records, Small-Doses, aQuarius recOrds, Cold Spring, KNVBIRecords and possibly a few others that I might have forgotten.

We are taking wholesale orders, as well. So, if you have any inquiries about purchasing wholesale copies please do so by contacting our mail-order department at HowlinMadMurphy@hotmail.com

There are a few great non-HpK releases slated for Goat Eater's 2009 calendar but that's all I can say for now.

Thanks so much for your continued support and thanks to President Obama for just being himself!

I O Pan
A. Mangicapra & the Goat-Eater family

Graduating and Moving to Brooklyn

The second installment in the Eureka Tapes series, "Graduating from Clocks to Watches" has been released by the ever expanding tape label, Peasant Magik. This series documents the brief time Hoor-paar-Kraat has spent in Northern California and has an altogether organic feel about it. While the first installment "A Whisper in the Sow's Ear" was very minimal, "Graduating from Clocks to Watches" is far more complex while still being painted with the same brush. They are currently available through Peasant Magik for $6 postage paid in the US, $7 to Canada and $10 anywhere else. Goat Eater will have copies for sale but, at this time, we would prefer that you make your purchase directly through the label and, while you're there, be sure to take a look at their other available releases.

The new HpK LP "A Doorbell of Earbows for Brefix" will be available within a matter of days. they will be priced at $14 postage paid in the US, $17 to Canada and $22 overseas.

On a totally different note, I (Anthony Mangicapra) will be moving to Brooklyn, New York on December the 29th 2008. If you have plans to send anything to me at the Eureka, California address please hold off until I can get situated at my new home in Brooklyn. Goat Eater still has plans for future releases but all of this will have to be put on hold for a brief period while we collect ourselves.

As always, thanks for your continued support and wish us well on our cross country journey.