If west coast garage is dead, where does that mean we are? In the fkn crypt. This is the unofficial WCG is Dead vol.4

I've come to understand that to the EMX1 a track is nothing more than a meaningless series of codes executed in a particular order or sequence. I mostly record live with improvisation, but the EMX only coldly executes the codes input to it via the interface. The machine doesn't change, only the way you see it. However, after 10 years of using the EMX, these days I'm unsure whether I possess it, or it possesses me. It is akin to looking for something in the dark, only to find it and decide to stay there to find something else you're uncertain is even present. A thought always on the tip if your tongue, bested by your own curiosity, destined to wander eternally. The only physical link to the past remaining being the machine itself, the same ride, a new destination. It becomes a portal to another time, and a place without it, yet it's all so familiar.


Crypt.exe shifts between new age 90's club aesthetics, apocalyptic sci-fi horror fantasies, and a call to action against the wide spread shift of focus within the human race towards divided, homogenized, and weaponized political identities. It exists as a commentary on our codependency on the electronic devices which ushered in this new era while welcoming corporate and government spying of our lives, when less than 15 years ago we feared viruses and malware which had the same essential purpose. This is a fragile age that can collapse at any second, not only at the hand of world governments or corporations, but one of us as well. Its perpetuation depends on the illusion of normalcy.


Crypt also exists as a reminder that even after the past thousand years worth of cultural domination, destruction, and genocide, we are still here, the indigenous resistance is still burning, and our sounds have only grown in power as we have used the net to connect on a global level without time. Multi layered poly-rhythmic drums ping along to a dusty backdrop of cinematic, digitally generated, and industrial soundscapes in a way that is both horrifying and psychedelic. Primarily generated and recorded live in a single take using patterns created on the tubed EMX1, through an analog compression system, Crypt channels ancestral roots through future technologies. The archaic, tribal-like rhythms further contextualize the one day to be ancient sound of early 00's technology, while emitting a powerful possessive aura far more ancient in real time. It is a recording of a moment that actually happened in a sea of pre-programmed instances.


Should the net exist in more than history books, in the centuries to come, Crypt exists as a reminder of questions that may one day be all but extinguished by those who benefit from the fog. In such a time, Crypt.exe will remain as one of many passages to a sacred internal temple. It is a state of mind I often feel we are fighting to remember, but music has long been, and will continue to be, an important point of access. The EMX1 is forever a portal, a messenger, and a relic of crystal, metal, and plastic, revived by electricity each time it's turned on, possessing its user for the eons to come.

Re-released 03.03.2023 for the Repeated Measure catalog, bridging the gap between the events of Icyology and past/future Repeated Measures projects.