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In anticipation of our return with DIE⚡️ELECTRIC Vol. 4 on Thursday, March 20th, we’re dropping a compilation of some of our favorite moments from the first three volumes last year!

Free to download! But if you’d like to support, donations are greatly appreciated and will go directly toward making future DIE-ELECTRIC events even better 🙏

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Been having a blast doing visuals for @dieelectricla !! Its a monthly showcase of electronic HOSTED BY @_pioneer11 and @helmelstudios with a heavy emphasis on improvisation and rad gear (BUT NO LAPTOPS 🙅‍♂️😤).
The first two have been so sick and the next installment is TOMORROW 3/16 !!!! Roll through!!
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#dieelectric#helmelstudios#easthollywood#synths#synthsizers#electronicmusic#livevisuals#analogvisuals#analoggear#visualartist#analogvideo#projectionart#glass#lumia#videomixing#glitch#circuitbent#videosynthesis#audiosynthesis#modularsynth

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Volume 2 of DIE-ELECTRIC is next Saturday February 17th! All live electronica. No Laptops. Come hang with us at Val Kilmer’s @helmelstudios for a night of awesome musicians collaborating and creating completely original electronic jams.

🎟️ 🔗 —-> BIO

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✨ 2023! (part 1/?) ✨

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'Affect Theory and the Text-to-Speech Grandiloquence' is out now on Black Market Poetry

vocals written and performed by Andrew Mbaruk*

instrumentals composed and produced by Rhys Langston^

mixed by Rhys Langston
mastered by Hobbess

cover painting and back cover art by Rhys Langston

*with featured vocals by Something Something Brax, Jouquin Fox, and Old Grape God

^additional keys on "Uncertain As Light" by nahhphet, synth bass on "Affect Theory" by Alex Rowland, modular synth tech on "Discovery Of The Tubman Boson" by Benjamin Keer

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'Affect Theory and the Text-to-Speech Grandiloquence' is out today!

Find in the link in bio the electrifying union of two Afro-eccentrics on distinct ends of the North American west coast:

Through his Vancouver, B.C. purview, Andrew Mbaruk raps avant-garde poetry, railing against the Western literary canon and flimsy public imagination. In a Canadian lilt, he resembles a languidly rapping, slant rhyming Paul Beatty, using dry racial humor and continental philosophy to expose the hegemonic forces under quotidian life.

By way of Los Angeles, CA, the otherwise wordy American, Rhys Langston, stays silent behind the boards, chopping theological seminars, literary Q and As, and other vocal oddities over his carefully arranged live instrumentation and adroit sample sequencing. Tuning to his own quirky frequencies of leftward hip-hop, trip hop, and post-rock, the compositions depart from the sullen, minimalist affect expected of much contemporary alternative hip hop.

Thus, what results from the fusion of these madcap artists is a hodgepodge of abstract rap and postmodern freeverse over experimental hip hop and Black indietronica— akin to something from an alternate universe anticon. Meaning, in the project’s seven tracks, Mbaruk and Langston turn the weirdness to 11— and rather than shy away from racial hang-ups endemic in such early experimental hip hop, they elect to throw molotov cocktails of absurdist Critical Race Theory.

Released on Rhys Langston’s own Black Market Poetry music label and literary press, it also features guest verses from the best of those under the underground: @somethingsomethingbrax , @jouquinfox , and @_._._._tron

Mixed by Rhys Langston
Mastered by @hobbesss

Cover art by Rhys Langston,
originally titled
"Nasal Bridge and Gold Fronts in a Cerulean Slapdash"
2022
Acrylic on Canvas
18" x 24"

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Amodal or modal??? 🚏🧿🧬🔐🪐🌟📀

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Huge M*A*S*H people 📹 @tommy_franch

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Sundown Syndrome

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House in motion 🌞

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a chronicle of the dreamatorium ❄️

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So much love and happiness!

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