textured bird transmission


Purple Weighted Pellets of Despair (Dead Sea Liner) [2006]

Singing Through Trees (Dirtydemos) [2007]

Spectral Doves of Skeletal Intensity (Dead Sea Liner) [2007]

Panda Heads On Staggered Crystal Seas (Gold Soundz) [2008]

RRRecycled (RRRecords) [2008]

Blazing Animal Faces (Dead Sea Liner) [2008]

If clouds of birds descend, do not be alarmed as their wings extend beyond the universe (Dead Sea Liner) [2009]

Tracks appear on the following compilations:

"Famous Left-handers" appears on "Observation Point Volume 2" (Dirtydemos) [2007]

"Clouded Sulphur Yellow Form" appears on "Caterpillars, Head Swells and Mind Melts" (Nost8ment) [2006]

"Probus De Manticore" appears on "Cinnamon Frequencies" (Kakashka Records) [2006]

"Carousel" appears on "The Dead Sea Liner Sports Day" (Dead Sea Liner) [2006]

Coming Soon......
3" CDR split with ?? (Sick Head Tapes)


Spectral Doves Of Skeletal Intensity
Textured Bird Transmission is... well, I don't know, and supposedly neither does their label. Either way, they produce some really dark ambient tunes, a sort of soundtrack for early 1900s Expressionist German film. I can hear this playing well over movies like Nosferatu or Der Golem. Creepy synths bleep, guitars feedback, metal clangs, all of it over layers of soundscapes and textured drone. While I dig the music, what I really like - almost as much - is the layout. Hand-painted waves of red, orange and yellow (though I've seen green on other copies as well) over thick cardstock. Time consuming, I'm sure, but quite impressive. Limited to only forty-eight copies, so chances are you're a washed up sucker that missed out. Too bad for you, I guess. [Feast Of Hate And Fear]

Blazing Animal Faces
I'm only just learning about the Dead Sea Liner label but I'm really starting to like it. This sterling release comes packaged in a hand-painted cover whose acrylic droplets have been molded into vein patterns. Musically speaking, Textured Bird Transmission's Blazing Animal Faces is a hazy experiment in dream-drone, cautiously treading the line between ethereal bliss and a more odious, dark ambience. There is a strong sense of mystery to several of these compositions, including David Lynch-esque "At Night, Nature is in Mourning for the Loss of the Sun" and dense, hypnotic masterpiece "Black Holes Have Eaten the Sky." Meanwhile, strangely organic "Dawn Such Abyss" provides a tremendous endpoint for the disc, burying a pretty piano line in sonic fog before diminishing into nothing at all. Drone enthusiasts should take a gander, as this inspired CDR release fits well alongside some of the bigger names on the scene. Textured Bird Transmission doesn't challenge any genre conventions, but nevertheless Blazing Animal Faces is a solid ambient album perfectly calibrated for eerie walks down desolate ghost town streets. Leave it to this anonymous entity operating out of Weymouth to produce a record that's both profoundly organic and eerily post-apocalyptic. [Indieville]

Panda Heads On Staggered Crystal Seas
It's been a while since I've heard from Textured Bird Transmission but I'm glad he's come back into my life with this half hour CDR of lo-fi ambient noisescapes. With 4 tracks spanning the disc everything seems to be placed just right as to allow for just the right dosage of sound here. The range and variety of sounds here are satisfactory with the overall sound sometimes becoming somewhat stagnant like in the 10 minute opener “The Fish Upstream (are evil)” in which the base drone (a drifting chant with airy distorted noise layering) is a good combination of tones but with the lo-fi production tends to grow a bit dry. I feel myself wanting more low-end or mid-range sounds but things tend to stay in a small little notch in the upper mid-range frequencies. This issue persists through out the entire disc and definitely lessens the effectiveness significantly. It's a shame too because “Terra-quarium” is another shorter varied track that makes a nice segue to the strongest track here which is “A Yellow Monolith.” Using what I would guess are mostly sounds originating from human vocals the strange delayed atmosphere and burbling synths are mixed together to form a unique atmosphere which shows the level that Textured Bird Transmission is able to reach, which perhaps makes the closer “Green Scaled Walls” just a little bitter sweet as there are some decent moments, though it's similarity in style to “The Fish Upstream (are evil)” can't be dismissed and it remains an overall weaker track on the album mainly because most of the material it seems to cover are ideas being reiterated from previous tracks on Panda Heads on Staggered Crystal Seas. I don't mean to be too hard on Panda Heads on Staggered Crystal Seas because it's a competent little disc with it's strong points but for me the cons outweigh the pros here although I feel TBT is right on the cusp of becoming something better than this. If you like your ambient/noise lo-fi then this is just the thing for you. [Bloodties Webzine]

Spectral Doves Of Skeletal Intensity
Textured Bird Transmission is... well, I don't know, and supposedly neither does their label. Either way, they produce some really dark ambient tunes, a sort of soundtrack for early 1900s Expressionist German film. I can hear this playing well over movies like Nosferatu or Der Golem. Creepy synths bleep, guitars feedback, metal clangs, all of it over layers of soundscapes and textured drone. While I dig the music, what I really like - almost as much - is the layout. Hand-painted waves of red, orange and yellow (though I've seen green on other copies as well) over thick cardstock. Time consuming, I'm sure, but quite impressive. Limited to only forty-eight copies, so chances are you're a washed up sucker that missed out. Too bad for you, I guess. [Feast Of Hate And Fear]

Panda Heads On Staggered Crystal Seas
Also from the underworld of drones and CDR labels is Textured Bird Transmission, of whom we know, goddamit, nothing. Here too lo-fi runs high in approach. Textured Bird Transmission play cosmic, psychedelic drone music on a bunch of old analogue synths, tape-delay and some low level distortion pedals. Four tracks, spanning thirty some minutes, but they seem to me outtakes from longer parts, jams that lasted hours and hours. Just one candle was lit, some incense burned (yuk), illegal substances at hand and jam along in good spirit. The recording machine was on a low volume until the fourth track (which sounds super loud after the first three) but what an evening they had. Nice one, again. [Vital Weekly]

Singing through Trees
From Dorset in the U.K. comes this second release by ambient soundscape enthusiasts textured bird transmission. The label describes it as 'drone noir' and I certainly can't argue with that. Buried within said drones, however, is a lot of subtle sonic activity. It's often hard to decipher what the actual sound sources are, but for this 3' CDrEP that is ultimately irrelevant. The opening track achieves a lot in a mere three minutes. It paints the image of a landscape engulfed in fog, much like this morning here in North Carolina, with mysterious crashing waves and the wind...well, singing through the trees. The periodicity provided by a quietly looped clicking sound is absolutely mesmerizing. The graceful and glacial pace of this accompanies well the melting snow dripping from the trees outside my window. 'The Purple Housing On A Plastic Cat,' with its cryptic title, continues this general vibe with the introduction of a gently plucked string instrument, perhaps some sort of zither. Waves of high and low drones (bowed?) slowly pulsate in and out of the mix around it. About three minutes in some delicate percussives enter the scene and suggest some element of ritual to the work. From here the drones swell and become even more prominent and remain so for the next minute or two before receding back into the ether. This is absolutely gorgeous and not unlike something you may find on an early-90s Zoviet France recording which is never a bad thing. Sounds are processed only so much as to enhance the sources and never to completely obscure them. 'One Swallow Does Not A Summer Make' begins with a sublime rumble that you can feel before you actually hear it. The density is increased with some thunderous eruptions off in the distance that gradually become more frequent. This accumulation results in some closely-mic'd crackling that could easily be the amplified crumpling of a piece of paper. These rich textures are joined, throughout most of the piece, by a barely perceptible higher pitched whistle-like tone that serves to balance out the frequency spectrum. The final track washes over like a warm gel-like substance and is the most ambient of all the pieces here. It virtually goes nowhere. Like the others though, there is a depth and substance in the stasis that removes the notion of mere passive listening. In fact, I think I'll listen to it again. Suffice it to say, I like everything about this little disk; from the track titles to the packaging. It comes housed in a purple velvet pouch with a cardstock insert in an edition of only fifty copies. If you have an aversion to the term 'ambient,' I suggest you check this out and you may change your attitude. Although I'd prefer a full-length, this is concise enough not to tire the listener and is plenty rich with sonic rewards. If you're looking to get into drone music, then this is an excellent place to start, along with Dirty Demos' 3' release by Sindre Bjerga. A+ [Heathen Harvest]

Purple Weighted Pellets of Despair
Holy ambient!!! This is the first release from the label Dead Sea Liner and Jesus Fucking Christ is it good. Itís a short 28 minutes but holy hell this is some of the best ambient noise you will hear. You ever listen to the Bladerunner soundtrack or something from Tangerine Dream, well; this should be included in that list and put in a movie somehow. Itís that good. I have never heard of the band to be honest but I will perform a seek and hunt now because of this release. It takes about 4 minutes for the sounds to start to pick up and then the greatness begins. Within the tonal musical bliss there is this low synth held down in the background that I just love to death. It sounds much like those creepy 80ís horror movies that used those synths a lot. Listening to this put me in a fucking trance and it was in large part to the held down tone. About half way through it varies a bit and picks up in intensity, still perfect. Holy shit, my head is going to explode. Like massive waves crashing on my head, but viewed in 100 times slow motion. The splashes and water drops twinkle from the crash and spread through the air to create the fog that blankets my mind. Yeah, Iíll say anything, Iím fucking in a trance and this is my new favorite release of 2006. I am such a lucky guy to have gotten this for free, seriously. You now must by it. I canít recommend it enough over anything else. It cost 2 pounds which is about $4 American so itís yours for that cheap. The artwork is simply a red paper slipped in a plastic sleeve. Itís printed nice and I think it suits this release perfectly. If you canít dream at nights, this release well help. Get it! [Noisear]

Singing Through Trees
My first encounter with Textured Bird Transmission, who had a CDR release on their own Dead Sea Liner last year. No further information is given here, so we have to purely the music, which is exactly quite a surprise. I had Dirty Demos not as a noise label in my little book, but one that released music of a somewhat louder spirit. With Textured Bird Transmission we are all wrong as the four pieces are best pinned down as ambient, with a big A. Heavily and heavenly processed field recordings, bells and voices, music with a slow curve. Something that Brian Eno could be proud of, as this comes close to his first ambient record, but with even more sonic depth. Great but too short release. [Vital Weekly]

Purple Weighted Pellets of Despair
Dead Sea Liner is a new cd-r label on the other side of the ocean who apparently aim to be one of the new transmission routes for heavy drone action, celestial or otherwise. This particular cd-r is not only the debut release from the label, but (I think) the debut by Textured Bird Transmission, and I sure hope it is, because this is brilliant shit, like that live One Inch of Shadow stuff I raved about many moons ago, but darker and more forbidding without invoking any of the traditional / cliche "dark" motifs, if you get my drift. The album is one long piece that unfolds over nearly thirty minutes, like a series of icebreakers crawling slowly through deeper and thicker slabs of ice as they creep up on the mother of all glaciers. I don't know what it is they're doing or how they're getting their "motive power" (I'm guessing lots of powerful drugs, but I'll freely admit that is purely conjecture), but whatever it is, they're doing it right and we need more of it. I'll bet when they send off the flies that have been swatted, this is the music they play at the funerals. Or something like that. Buzz, buzz, buzz goes the powerful, endless drone of doom....[The One True Dead Angel]

Purple Weighted Pellets of Despair
This is the first release on Deadsealiner recordings and it is also the personal project of the label owner. The packaging follows the consistent simple style of D.I.Y. aesthetic that the rest of the releases have followed as well. Simple black print on red colored paper in a plastic bag with a blank CDR. This is a release consisting of one long track running almost 30 minutes long with the first half being droning synth ambient and the second half being a barrage of potent noisy ambient drones. The first half uses pretty standard synth sounds that are kind of plain but they are well put together and arenít exploited to the point of sounding cheesy synth ambient. There is enough manipulation to keep me interested and listening but the atmosphere remains familiar with these sounds that any electronic musician or fan will be aware of. The really interesting part begins swelling in around the 10 min. mark where subtle clattering cymbals rattle into plenty of distorted synth textures. Once the crossover has occurred this becomes a different piece, not much resembling what has come before. I would have liked to actually seen this broken into two tracks because there isnít much reference to the first part after the second part has overcome. Either way what follows is some excellent ambient noise soundscapes with foreboding heavy drones peeling away at my existence: purple weighted pellets of despair to be exact. The production quality of this release is sounding quite nice with all frequencies being represented fully but the fade in that starts it is too slow and the first part a bit too quiet for my taste. Especially with the already contrasting parts the difference in dynamics kind of fails. Overall this is a release that is offered for a mere 2 euro and it is definitely worth it. The first part being very Eno-esque but the second being an intelligent mixture of synth textures, noisy drones, and some very subtle percussion meandering in the distance. Nice work and I see potential for this artist in the future. [Bloodties Webzine]

Purple Weighted Pellets of Despair
I received an impossibly slim package in the mail the other day from an address I didn't recognize, and thought maybe I was getting a courtesy shipment of a looseleaf sheet from somebody. Turns out it was even better than looseleaf - it was three CD-Rs from the newly minted U.K.-based Dead Sea Liner label. At present time they have five releases available (the two I'm missing are by Cel and Another Enough Chairs) with jams from Mutant Ape, R.S.R., Release Helen Rytka and Deep Sea Creature in the on-deck circle. And they all cost a tawdry 2 pounds, which is like $4 American or so. The CD-Rs are all uniformly packaged, with the disc envelopped in a heavy cardstock paper kinda reminiscent of the Double Leopards' "official bootleg" skull CD-R series. Of the albums I received, there's one artist I know, one I don't, and one I'm vaguely familiar with. The first ever Dead Sea Liner release is under a name I've neve come across: Textured Bird Transmission, with the album title being "Purple Weighted Pellets of Despair". It turns out that this is the nom de plume of DSL honcho Allan Upton. His disc begins with the kind of slow-motion fade in that would have Francisco Lopez reaching for the fast forward button. I thought it was total silence when I played it on my stereo, but listening now through headphones it turns out there was actually a low-key ambient drone going on the whole time. Around the four minute mark the rumble starts taking an even larger shape, gathering tiny flecks of detritus as it floats weightlessly through the cosmos. This is very, very reminiscent of Hermann Nitsch's "Harmoniumwerk", although with a bit of a 21st century update. I'm also reminded of that Warner Herzog film I saw, Wild Blue Yonder...not just the soundtrack but the numerous wide-open other-planet deep blue sea scenes. As the piece wears on it gets more rough and frazzled, but still follows a pretty impeccable trajectory culminating with a rather head-expanding finish that sees a bright lasery supernova implosive finish. Very nice! And at close to half an hour, it doesn't drag. [Outer Space Gamelan]

Purple Weighted Pellets of Despair
Regular readers / visitors to the Aural Pressure website will know of my feelings towards MySpace.com and all who sail in her. In case you are unawares here's a clue... I have come to call it My waste of fucking Space.com... and with good reason. In my humble, totally unbiased in any way, opinion 99.9999% of the people who have a presence on that website are a sad "look at me and all my so called friends that I've amassed" sack of shit. Read my blog. Read about my uneventful and unfulfilling life. Listen to my new music release. I'm great. Buy my CDR. Love me. Love me. Here's my picture. Am I not cute and cuddly? No, no, no. Get a fucking life. Stop wasting your time and smell the fucking coffee. No-one cares about you. Not even your own family. You are a subject of ridicule. I laugh at your insecurities. You all make me puke. Mind you... that is only my opinion. Occasionally, very occasionally, I find the odd 0.0001% reason to actually thank the Gods that MySpace.com exists. Here is one such reason. Actually more than one reason... as you'll see elsewhere on these very pages. Allan Upton is that reason. Allan Upton from the black heart of the South coast of England. The man behind Dead Sea Liner records and Textured Bird Transmission. A visionary (well I like to think so) who has set up his own record label to bring an extraordinary variety of different music genres to the masses for a mere pittance in monetary terms. £2.00, including postage, a pop per CDR to you sir. A bargain. A steal. Bite the hand and get out fast. You can find out more at www.deadsealiner.co.uk. "Purple Weighted Pellets of Despair" is, appropriately enough, the first CDR release from Allan and his new record label. The packaging is on the plain side, as reflected in the price to pay, but even I won't grumble at that. It's all about the music man. The music. And what a glorious heavenly racket this one tracked 28+ minute opus is. A combination of drones and all out adventurous noise that has the spectre of blackest / darkest ambient surrounding it. Like a Sirens call it beckons unto you. Come. Come. Hear our song. Luring you with a sweet serenity that is slowly built up... a pathway / gateway to the stars... before crashing you into the rocks of utter desolate despair. A life terminated in an aural profusion of electronic nastiness. What at first appears as an act of minimal ambience grows in structure as it shape shifts in a multitude of directions before performing the coup de grace of feedback and electronic drenched cacophony. A wholly intense and wondrous creation that has been forged by a highly creative hand. The effects are electrifying and quietly unsettling. In other words - shit hot. Or even... hot shit. Scatological references aside... you must investigate this release. It does not disappoint one iota. Iām even willing to forgive his presence on MySpace.com if it gets his label and his music a higher profile which, on this example, I sincerely hope it does. [Aural Pressure]

Purple Weighted Pellets of Despair
Adding their own voice to the improvised noise party Textured Bird Transmission offer a slow moving arctic drone on ďPurple Weighted Pellets Of DespairsĒ, the piece slowly changing as it moves to its inevitable conclusion, the sounds howling around the room, lowering the temperatures until lethargy and numbness creep in. [Terrascope]

Purple Weighted Pellets of Despair
Don't be mislead by the minimal packaging - the music on this CD-R (Dead Sea Liner's first release) is an ornate mess that scoops you up and suspends you in mid air surrounded by a happy storm of electronic atmospherics. Textured Bird Transmission is a one-man operation that bridges a gap between screeching white noise and tender ambience. After about 10 minutes of build up with more loops and more feedback being added step by step, I was left thinking about some of Iannis Xenakis's compositions - in that it feels like huge solid shapes were being formed in the air around me whilst I listened. Musical architecture. And although it adheres to the tried and tested route of most noise pieces - in that it starts with a quiet hiss and ends in an unruly cacaphony - the pleaseres involved far outweigh the formal structure of the music. There are some overwhelming moments of beauty contained in this 30 minute piece. Grab them while you can. [Feral Debris]

V/A Ė Caterpillars, Head Swells and Mind Melts CDR
Right off the bat there are several things I look for in a compilation release. The first and most important is track order, if the tracks arenít ordered, donít have a sense of flow or progression then generally the comp isnít going to be successful. Caterpillars fulfills this requirement well enough, at least enough given the fact that there is such an eclectic array of tracks on this release. The second is track mastering, the comp needs to have a consistent enough sound to it, the heavy parts need to punch you in the mouth and the soft parts shouldnít have to have the volume knob jammed up to fully appreciate them. This is one aspect where Caterpillars fails. Perhaps an attempt was made to do this because it just so happens that all the harsh noise tracks on here are fucking quiet, which takes all the punch out of them. In fact, itís the opposite of even the aforementioned bad scenerio, the harsh tracks actually have to be turned up to be appreciated. The tracks on this comp range from harsh noise, experimental, freak out jazz wankery, and even a little ambient thrown in for good measure. If there is a consistent vision to any or all of these tracks it is lost on me. Thatís not to say however that there arenít a few decent tracks that can be found here and there, but coupled with the vision and production they rarely rise above mediocre. Gland kicks off the comp with the badly titled ďYe Gods! This Parachute is a Napsack!Ē I really donít mind humor in noise, in fact with acts like Brian Miller/Kevin Shields and Cock ESP I can usually laugh along, maybe itís not a hearty guffaw, but at least a quiet chuckle. However I donít see the point in using total geek humor thatís not even funny to describe a harsh noise track with some potential. If itís meant to be funny make it funny, donít make it some cheesy pointless one liner for fuckís sake. Humor can have substance to, have a deeper meaning and if you donít believe me just search ďass penniesĒ on you tube. Tiger Piss a project with a fucking terrible name brings us ďAint HeavyĒ a wanky free jazz drum track that I donít really have any interest in because Iím not a fan of this stuff. I guess this isnít that bad compared to some similar acts I heard in this realm but it just doesnít interest me. Falling Boy bows in with a good track of psychedelic jamming guitar solos luckily dashed through a ton of effects and sounding more like some dreamy feedback then anything else. The guitar is a little more prominent then I prefer but this is probably my favorite track so far. Mutant Ape presents a fair noise track with nothing really that stands out but has enough layers and thickness to tide me over though it does feature an annoying very thin high pitched frequency that bleeds through all too often and makes the rest of the layers loose a lot of their oomph. BBBlood which I believe stands for ďBaron Bum BloodĒ presents some decent junky cutup noise, totally lo-fi and not even really harsh but at least keeping a lot of ideas flowing and staying true to the lo-fi aesthetic. Enough about the bad/mediocre tracks I canít right any more smack. Towering Breaker shows what heís got with a decent experimental track featuring some delayed metallic/glassy rhythmic sounds and some melodic synth lines combined with meandering analog synths in the distance to create a classic style experimental track with atmosphere. Cam Deas plays an interesting lo-fi orchestra or what sounds like plucked and delayed guitar strings with an eclectic array of other elements blending in and out mostly sounding like they are produced with a standard guitar/drum rock group setup but at least culling some unorthodox sounds of the instruments and presenting them in a way that doesnít flaunt that heís using ďrealĒ instruments. Kind of reminds me of a dirtier Keith Fullerton Whitman. Finally, save the best for last with 2 very similar tracks (could one be a remix?) the first being Textured Bird Transmissionís ďClouded Sulpher Yellow FormĒ and the second being Another Enough Chairís ďCraved Food.Ē Both track feature anxious clanking scrap metal over organic noisy drones to present 2 tracks that although similar are full of heart and donít pretend to be much more then what they are. An excellent closing finally to an otherwise mediocre comp. Despite the few good tracks here and there Iím disappointed to say this comp has found itís way into the throwaway pile because I feel (like most comps that have fallen into my hands) that the bulk of the tracks are throwaway that the artists just had sitting around. [Bloodties Webzine]

Hey, now this is the way to start off a noise compilation: The swell Gland opener "ye gods: this parachute is a napsack!" spews intense, ear-scraping, hiss-howling white noise like something straight out of a early Whitehouse or something equally abrasive. The rest of the 15 tracks on this compilation of UK noise bands isn't always quite so face-peeling, but even the more relatively restrained moments are pretty weird and intense in their own way. The fried glitch electronica and mutant behavior of Filthy Turd's "japanese girls sex in reverse" and the childlike ping-pong rhythms and grotesque guitar sound of Guanoman's "gamelama fa fa fa" are miles apart in terms of execution and sound, but very much of the same spirit in terms of intent. There's a pretty wide variety of sounds, textures, and execution strategies to keep the compilation from growing stagnant, and with fifteen bands offering a track apiece, there's plenty of opportunity to find something to like and space limitations keep everybody from getting carried away in terms of playing time, which is useful -- nobody has the chance to wear out their welcome, and the really good stuff ends before you're ready, leaving you wanting more. Some of the best stuff comes at the end of the album, when Eaten By Children, Tortured Bird Transmission, and Another Enough Chairs close out the disc in three different but thematically similar slices of damaged electronics and dread-inducing drone. Swell, swell stuff. [One True Dead Angel]