Last Psychectect Album Now Available as Free Download

In honor of X-Day, my most recent Psychetect album, Extremism is now free/”pay what you will.” You can get it at Bandcamp now.

You can still download my first album, Return to the Wasteland from Bandcamp on the same terms.

New Bonus Tracks Added to Psychetect: Extremism

I’ve uploaded three new bonus tracks to the last Psychetect album Extremism:

“Recalculate”: A new recording using some of the same instruments and effects I used for “Solar Rattle.”

“Perverse Intimacy with the Sun”: A sequel to “Thirst for Annihilation” from Return to the Wasteland.

“Sleeping Demon”: A short remix of “Aqua Demonic Operating System.”

If you’ve already purchased the album you should be able to download the new tracks from Bandcamp. Let me know if you can’t.

KZSU Interview with Klintron, Recording and Transcript

If you missed me on 90.1 KZSU Stanford ThermoNuclear Bar last week you can now check it out on SoundCloud, or read the transcript below. We talked about the occult, conspiracy theory, EsoZone, Portland, Psychetect, Mindful Cyborgs, the Indie Web.

Here’s a sample:

S1: Where do you see then your variety of your projects going? I mean we have talked about this earlier. I had said that Technoccult was one sphere, and Psychetect was another, Mindful Cyborgs was another. If you saw any relation between the three other than just you happen to be in the middle or do you see any sort of end-goal coming up for you?

KF: In terms of an end-goal, I think the purpose of all of these has always been to find some way to engage with other people in a way that’s meaningful for both of us. I guess, it’s kind of an abstract way of talking about it, but something like Psychetect is just a different way of expressing myself and hopefully of communicating with people. Things like Technoccult and Mindful Cyborgs are more directly communicative projects. I think the only thing that they all have in common is a general interest in thoughts and thinking and consciousness. I guess, the overriding idea of Psychetect is to kind of create audio representations of thoughts or of sort of mental spaces that I don’t feel like I can describe with words. There’s I guess an overlap with something like Mindful Cyborgs where a big part of what we’re talking about is what it feels like to think in a world where you’re always connected to the rest of the world via the Internet and everything you do is being measured by somebody.

Full transcript

(Previously: G-Spot interview with me about Psychetect)

I should also mention that PDX Occulture is still sort of around, and that though EsoZone is gone, Weird Shift Con has emerged to fill that void (though I don’t have anything to do with organizing it).

Continue reading

Klintron Talks Psychetect, EsoZone and More on KZSU 90.1 On Wednesday

I’ll be on the ThermoNuclear Bar on on KZSU 90.1 on Wednesday 9/11 at 4:40 PM to talk about my noise project Psychetect, the old EsoZone event, the new Mindful Cyborgs podcast, and whatever else comes up. A brand new Psychetect track should debut on air during the show.

KZSU 90.1 is Stanford University’s radio station and can be heard in “just about the whole [San Francisco] Bay Area.”

For those outside of the Bay Area, you can stream it live online here.

New Psychetect Album Available Now: Extremism

Psychetect: Extremism cover art

My follow-up to Return to the Wasteland is finally out! This isn’t a live album, but it’s based on my live noise performances. It’s just $2 — about the cost of a cup of coffee. You can also listen to it on Soundcloud.

Cover art by Kirsten Brown. Cover design by Daniel Rafatpanah.

My previous work is all available for free from Bandcamp.

Preview Of The Next Psychetect Album

Here’s an untitled track from next, also untitled, album. This one departs from the more ambient stuff I’ve done — it’s pretty much full on noise.

It may need some more mastering, but here it is:

(BTW, you can still download my previous work for free from Bandcamp)

Video: Psychetect Live at Rotture April 29, 2012

Sound: Psychetect
Video: Gadgetto
Art: Ian MacEwan

Last month I performed at Rotture in Portland, OR opening for The Steven Lasombras, along with Cult of Zir and Meta-Pinnacle. I had some technical difficulties in the beginning, so you might want to jump forward to about 3:00 minutes in. It’s hard to tell from the video, but what I’m doing is bowing a broken drum cymbal with a cello bow. I have a contact mic on the cymbal, and the signal is being routed into Ableton Live, where its’ be processed through multiple effects. I have some other noise sources running in Ableton as well.

You can download my most recent single here and my album here.

See also:

My interview with The Steven Lasombras

My interview with Cult of Zir and Ogo Eion

Cult of Zir Live at X-Day

New Psychetect Single: Rosin3

This was recorded by playing a broken to shit cymbal with a cello bow and processing the output from a contact microphone. The signal was split into three bands, each band with its own effects chain. This produced a layered, full spectrum piece from a single input.

Special thanks to Trevor Blake and Justin Landers.

You can download it from SoundCloud or BandCamp.

Happy X-Day: My First Album is Now Free


<a href="http://psychetect.bandcamp.com/album/return-to-the-wasteland">Awakening by Psychetect</a>

You can now download Return to the Wasteland for free, or just pay whatever you want. Before there was a $5 minimum.

I was going to release a new track today for X-Day, but I’m not happy with the material. I was also planning on making Wasteland free when the next Psychetect album is released – but that’s still at least a couple months away. So, to support your slack, I decided give away Wasteland a little early.

Of course, X-Day is all about profit, so feel free to pay money for it. You can also buy the album from iTunes, Amazon.com and a bunch of other places.

Cover art by Ian McEwan, color by Danny Chaoflux
Sound produced and mastered by Klint Finley

Justin Landers of The Steven Lasombras – Technoccult interview

Steven Lasombras

Front: Justin Landers Back: Ben Blanding. Photo by Tony Vu.

Justin Landers is Portland based artist and musician who records and performs under the name The Steven Lasombras. His new EP A Diamond Eye Shines in Failing Light was released today on To the Neck Recordings. You can download the EP for free here or buy it here. Disclosure: I’m opening at the CD release show 4/30/10.

Klint Finley: What’s the meaning of the name Steven Lasombras?

Justin Landers: Oh Jesus… Should have seen that one coming! “Steven Lasombra” was a fictional character in a long-running Vampire: The Dark Ages campaign. When I originally started recording songs I labeled them Steven Lasombra Recordings, right around when a lot of “The” bands were getting big (The Strokes, The White Stripes, etc. etc.) so taking the name The Steven Lasombras was a really satisfying goof. I always meant to change it when I found a better name, but after a couple years it became a thing where nothing else fit.

Basically, it started out as a really stupid in-joke.

So he was one of your characters or one from a published series of books?

Sighh… it was my first character.

C’mon, do you think SPIN is going to be any easier on you?

“LOL”! It’s true.

How would you describe The Steven Lasombras to someone who’d never heard your music?

I would say I write and illustrate stories in the form of “songs”, and that they usually end up big and loud and dark, with lots of different parts. And I would feel like a pretentious ass. But that’s the quickest way to put it.

You’re also a visual artist. How has that impacted your approach to making music?

I have no training as a musician or anything, all my training is in visual arts. So I approach recording in the same way I would a painting – begin with the initial idea (whether it’s a half-finished story, imagery from a dream or a movie, a phrase, something from “real life”), then flesh it out and heap on as much detail as I can.

Moving forward, the visual element will be a bigger part of it. I’ve always made all the accompanying artwork for SLs releases but the new thing I’m working on which should be finished by the end of the year) is a bit more involved, the visual and sound elements are equally important. In that way, The SLs should become less of a “band” and more… I don’t know, something else.

That probably answers my next question – You spent some time last year studying wayang kulit in Indonesia, will that find its way into your work?

YES, that’s exactly what I’m talking about. The new EP is a transition between my way of working before going there and the way I’m going about it now. The next project I mentioned definitely has some elements of wayang, especially in the visual side. I started compiling ideas for a wayang show to try here, but I am not sure if that’s ever going to happen. Not only would it be insanely expensive, I was a severely mediocre dalang.

A Diamond Eye Shines In Failing Light

So The Steven Lasombras is just you in the studio, and you work with various musicians for live shows, is that right?

Correct. The live line-up has shuffled a bit, mostly between friends or relatives who I’d played with in other bands (my brother Alex, our cousin Chris Ryan, who I played with in Animal Beard, Jevon Cutler from Chevron and Animal Beard, Michael Ferguson, Ben Blanding…) and who I was comfortable giving orders to. Since I’ve been back, everyone’s schedules were hectic enough that I just ended up playing alone live, and I think that’s been reasonably successful. With a guitar/bass/drums band the songs come across as a little more straightforward, the one-man versions pull them to a slightly weirder place.

How long have you been performing and recording under the name?

I believe the earliest four-track recordings date back to 2001 and the first proper live performance was March of 2006.

We don’t play live too often since a lot of the songs are tricky to learn. The parts themselves are simple enough (I think), but getting them practiced to a point of being really presentable is a challenge, especially when everyone has a job/school/wife/whatever.

(I should find some unemployed believers and then get comfortable giving them orders.)

It shouldn’t be that hard to find unemployed musicians in Portland.

How did you get your first gig?

First gig was by request! It was the release party for the Dragging An Ox Through Water record “Rebukes!”

Brian Mumford is actually one of the first people who really seemed to like the SLs stuff when he heard it, going back to like 2003. He had a CD-R label for a while called Publisher’s Clearinghaus that put out an Animal Beard record. He was going to put out another SLs record in 2004 but the project folded or he lost interest or something… He was really nice about it, though. He apologized to me for years.

Steven Lasombras

Left: Justin Landers. Right: Alex Landers. Photo by Tony Vu.

So were you passing recordings around to friends or actively seeking local labels?

Just to friends, and barely that! At that time Chris Ryan was still living in Eugene and was friends with Brian and the other guys in (the sadly now-defunct) Chevron, I believe that’s how he heard it, probably by accident. It’s only fairly recently that I’ve been comfortable actively sharing this music with people outside of my immediate circle of friends. That might be a mental thing on my part, but I’m pretty sure it’s because I’m much better now and know what I’m trying to do.

When were you in Animal Beard? Was that before The Steven Lasombras?

Yes! Animal Beard started when Chris was still living in Eugene, during my two terms at U of O, late 2000. That also started as a bedroom four-track recording project, but… in more of an indie-rock style. Chris wrote perfect little pop songs and then sang them in a bizarre, often kind of ugly way. I played bass with him, when he was in town Jim Edwards played drums and keyboard (often at the same time)… We played a lot and made some really nice recordings that just fell flat. We played a fair amount, the line-up changed (added upright bass and Brian Mumford on theremin) but people just didn’t know what to do with us. To this day, I still think Animal Beard was solid gold and everyone else was crazy.

There’s an Animal Beard full-length that’s 99.9% finished that I think I’ll be able to put out this summer. It’s weird and lovely.

Was that your first band? You said you don’t have any training as a musician, how did you get started?

I bought a bass in 2000, I think because I thought it would easy to teach myself. Outside of aimless “jamming” with friends I think Animal Beard might have been the first “band” situation, where we were focused on writing and making something good.

Was bass easy to teach yourself?

It definitely was! I mean, it’s not easy to play *well*, but it’s not too hard to figure out.

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