Musick for Psychedelic Duelling Volume 2: Two Duels and No Submissions
by Rapid Eye Electronics Ltd. (R.E.E.L.)
Ether Diver
Ether Diver
Let's Get Weird! Buckle up, because even a half a tab of this album will blow your mind and launch you into a whole new reality. Two continually mixed side-long tracks take you on a wild journey through tape music, psychedelic noise, ambient, drone, acid, musique concrete, plunderphonics and generally weird fuckery. Top notch trippy weirdness and highly recommended!
this_occasional_society_listens_to
Pete Twentythree
jeremy
Beardo Weirdo
The Ephemeral Man
matthuxley
cj rusky
LAICA
Richard Richard
svchild
MJ Saunders
dylan281
Mike Holland
Porous Collective
Mr Taylor
chelicerata
otto_hollis
my-time
Dirty Bomb Shelter
Destin LeBlanc
Meaneyman
Lanternwick
yogicdronetechnicians
R de K
Musta Fior
Jonathan Herweg
rhos
Ian Proudfoot
Javi
jon dale
tihamer
dem66
tracks&grooves
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€7 EUR or more
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Full Digital Discography
Get all 29 Zona Watusa releases available on Bandcamp and save 35%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Awai, Kokiko, Listen To The Land Until It Becomes Your Body, Live, Support & Resistance, Root 7, Estrenyon, Musick for Psychedelic Duelling Volume 2: Two Duels and No Submissions, and 21 more.
Purchasable with gift card€109.20 EUR or more (35% OFF)
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Limited Edition Cassette
Cassette + Digital AlbumFull-on body printed mostly red (sometimes pink) psychedelic duelling tools
Includes unlimited streaming of Musick for Psychedelic Duelling Volume 2: Two Duels and No Submissions via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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about
Side One: The Duel at Bridport Fence
The Shining Ones — A gentle invocation to a demon sister in a place that can’t be pointed to. Recorded with optional mistakes and unfortunate organ rats at Old Eastville. Elohim to Aillil to El to Elf. “If you see them, The Shiners, The Shining Ones, you might already be there; you might already be part of what they are, maybe even where. If you can already use colour, or even if you can already see it like they can see it, you might already understand some of their language, which
means they already understand yours. At that point, there’s no return and you should have no regrets. The Shining Ones aren’t what you think. They are here for you only like you are here for the crushed bird skulls beneath your feet.” Arthur Jerymns, The Watchers and The Waiters.
Droad (or, An Uncomfortable Dream) — Sometimes we try to be Tangerine Dream and, when we inevitably fail, we laugh a little at our cosmic foolishness and then press some buttons that ruin it for everybody. This is a hasty edit of a long lost session we had before the bombs started falling. Recorded at The Thin Room, sometime before the world went.
Forensic Angels — A scraping from a barrel of electronic knuckles. Forensic Angels was originally about transmutation and psychic alchemy but some idiot lost the samples.
Camus is Coming — One of the earliest R.E.E.L. tracks, recorded at Old Eastville in the earliest incarnation of the band, before Iain Malcolm got Barretted, or “went down to the Vale”, as they say down here. This is one of only three tracks that survived those early sessions, the others being largely inconsequential, too long and possibly libellous. If the lawyers ever get around to fixing them with Messrs Disney and Cain, they’ll form an EP released with the 30th Anniversary REEL box-set,
should we ever get that far. Iain’s mark is all over this and he insisted on Camus, almost to the exclusion of all others. We let him in; he got out on his own.
The Mistrust of Language — None of us have any recollection of this track. It might not even be by us, in which case apologies to anyone who’ll hear.
Side Two: The Duel at Houndstone Camp
Morris / Maurice — a casual obliteration of an old Morris Dancing theme that we wrote for The Mushroom Fayre, Truro in 1971 in the hope that Coil’s Time Machines would eventually kick in. Crackles are artists’ own: “We’ve lost all power,” and, enervated and beyond reason, we gradually sucked the dancing theme out, leaving only the faintest trace, the musical equivalent of Francis Bacon’s famous description of his art:”…to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events as the snail leaves its slime.”
A Slow Drip with Acid James — half hearted acid house, with the exact same BPM as a medicated horse. A Special K-Hole, a place of slow regret. The plan was for this track to go on for 3 hours, hesitating only for a (vaguely) choral intermission, but, four minutes in, we decided enough was enough. You can’t keep good acid down and, in the minutes just after we all lost faith, the track Biba Kopf ’s Long
Neck was first performed. It is hoped that this track will form the basis for a lathe-cut 10” EP although it already formed the basic for about a third of our set at The Delaware Road festival, where DJ Steve Davis, ever alert and only recently sated, threw his hands in the air like he just didn’t care.
Unfolding — Vocals recorded on a 1970s desk microphone, culled from an abandoned Chartered Accountants office in Yeovil, Somerset. The original version of this song is on the compilation album Theorem (Shead Records, Bologna) and was supposed to feature a speech by Pier Paolo Pasolini in the ‘acid communism’ section but ended up largely instrumental due, in part, to a misunderstanding of the Italian
phrase In Bocca Al Lupo. We’ll do better next time.
The Man Eats More Men — this is from another early REEL session and recorded at Old Eastville. It was thought lost during the transition to The Thin Room but later found and gently remastered into life, like a desiccated child. It was originally titled Uncool but we, well, you know. Thin snakey brown acid that creeps you up and out. Vocals by John
Brent, who was only accidentally understanding the true nature of cool while thinking he was taking the piss. To grok is to groove, as Sun Ra
once said.
The Shining Ones — A gentle invocation to a demon sister in a place that can’t be pointed to. Recorded with optional mistakes and unfortunate organ rats at Old Eastville. Elohim to Aillil to El to Elf. “If you see them, The Shiners, The Shining Ones, you might already be there; you might already be part of what they are, maybe even where. If you can already use colour, or even if you can already see it like they can see it, you might already understand some of their language, which
means they already understand yours. At that point, there’s no return and you should have no regrets. The Shining Ones aren’t what you think. They are here for you only like you are here for the crushed bird skulls beneath your feet.” Arthur Jerymns, The Watchers and The Waiters.
Droad (or, An Uncomfortable Dream) — Sometimes we try to be Tangerine Dream and, when we inevitably fail, we laugh a little at our cosmic foolishness and then press some buttons that ruin it for everybody. This is a hasty edit of a long lost session we had before the bombs started falling. Recorded at The Thin Room, sometime before the world went.
Forensic Angels — A scraping from a barrel of electronic knuckles. Forensic Angels was originally about transmutation and psychic alchemy but some idiot lost the samples.
Camus is Coming — One of the earliest R.E.E.L. tracks, recorded at Old Eastville in the earliest incarnation of the band, before Iain Malcolm got Barretted, or “went down to the Vale”, as they say down here. This is one of only three tracks that survived those early sessions, the others being largely inconsequential, too long and possibly libellous. If the lawyers ever get around to fixing them with Messrs Disney and Cain, they’ll form an EP released with the 30th Anniversary REEL box-set,
should we ever get that far. Iain’s mark is all over this and he insisted on Camus, almost to the exclusion of all others. We let him in; he got out on his own.
The Mistrust of Language — None of us have any recollection of this track. It might not even be by us, in which case apologies to anyone who’ll hear.
Side Two: The Duel at Houndstone Camp
Morris / Maurice — a casual obliteration of an old Morris Dancing theme that we wrote for The Mushroom Fayre, Truro in 1971 in the hope that Coil’s Time Machines would eventually kick in. Crackles are artists’ own: “We’ve lost all power,” and, enervated and beyond reason, we gradually sucked the dancing theme out, leaving only the faintest trace, the musical equivalent of Francis Bacon’s famous description of his art:”…to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events as the snail leaves its slime.”
A Slow Drip with Acid James — half hearted acid house, with the exact same BPM as a medicated horse. A Special K-Hole, a place of slow regret. The plan was for this track to go on for 3 hours, hesitating only for a (vaguely) choral intermission, but, four minutes in, we decided enough was enough. You can’t keep good acid down and, in the minutes just after we all lost faith, the track Biba Kopf ’s Long
Neck was first performed. It is hoped that this track will form the basis for a lathe-cut 10” EP although it already formed the basic for about a third of our set at The Delaware Road festival, where DJ Steve Davis, ever alert and only recently sated, threw his hands in the air like he just didn’t care.
Unfolding — Vocals recorded on a 1970s desk microphone, culled from an abandoned Chartered Accountants office in Yeovil, Somerset. The original version of this song is on the compilation album Theorem (Shead Records, Bologna) and was supposed to feature a speech by Pier Paolo Pasolini in the ‘acid communism’ section but ended up largely instrumental due, in part, to a misunderstanding of the Italian
phrase In Bocca Al Lupo. We’ll do better next time.
The Man Eats More Men — this is from another early REEL session and recorded at Old Eastville. It was thought lost during the transition to The Thin Room but later found and gently remastered into life, like a desiccated child. It was originally titled Uncool but we, well, you know. Thin snakey brown acid that creeps you up and out. Vocals by John
Brent, who was only accidentally understanding the true nature of cool while thinking he was taking the piss. To grok is to groove, as Sun Ra
once said.
credits
released May 2, 2022
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