1967, by The Implicit Order

1967

by The Implicit Order

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Cruel When Complete - Skeletons From A Homespunners Closet, Slippery, Musique Concrete 1994-2024, Good Guys? (The IVCIO EP), Horrorlands, 30 Years - "The Chain" Volume Two, Wood N' Head, 30 Years - "The Chain" Volume One, and 52 more. , and , .

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1.	Night Drive 04:24		buy track
2.	Incidental 1 00:47	info	buy track
3.	Drugs & Tapes 04:01		buy track
4.	Elizabeth Veldon - Incidental 2 00:46	info	buy track
5.	Car Crash 1989 01:02		buy track
6.	Hal Mcgee & Ars Sonor - Incidental 3 01:00	info	buy track
7.	Phantom Anesthetist 03:33		buy track
8.	Zreen Toyz - Incidental 4 01:00	info	buy track
9.	Satans Slave 04:42		buy track
10.	Terry Childers - Incidental 5 01:10	info	buy track
11.	Melting Close 07:06		buy track
12.	3bc - Incidental 6 00:48	info	buy track
13.	Wake Up Call 03:18		buy track
14.	The Noisettes - Incidental 7 01:27	info	buy track
15.	2012 Won't Be The Year You Die 05:49		buy track
16.	Compactor - Incidental 8 00:57	info	buy track
17.	Green Meadow 01:25		buy track
18.	Final Incidental 00:42	info	buy track
19.	Now, Please... 00:39		buy track

about

This album in a way chronicles my 23 years of recording music. I record the stuff I want to hear, and these tracks represent some of the things that have happened over the last 23 years. You will find new songs, recycled old work taken from cassette, Interludes/Incidentals from friends and truth and lies from my strange fucked-up life.
The contributors tracks are untouched.
Cover art by Brian Horst.
REVIEW from acloserlisten.com :
1967 is a walk down one man’s memory lane. A dark, tumultuous and heavily drug influenced walk. A compilation of recordings unearthed from Anthony Washburn’s twenty three year career at making music, rearranged, crushed and mixed with interludes (referred to as “Incidentals”) from friends to form one long stream of thought that wanders in the background adding intensity and uncertainty to the audience’s lives.

Kicking off with what sounds like a sample of a party with reverb heavy snares and synths audible from afar, it all disappears, and falls under the weight of an overpowering drone which in a way or another remains the only constant throughout the recordings; the one piece of logic that traces the history of the subsequent tracks. It moves in and out of focus to allow other noises and voice samples to shine, but in a way remains there, gluing it all together and proving itself the single most important layer of sound in the tapestry that makes up 1967.

There is always a sense of deep sadness in the tracks, the stories told of night terrors, Morse code clashing against what sounds like a processed wind chime, the drug heavy audio message that seems to go nowhere, all contribute to a sense of loss; a sense of constant motion towards the unknown. Every step taken is a revelation, albeit a bleak one. Every word uttered is a confession, but it might equally be a flat out lie. It puzzles the listener, makes him guess, then play the record again to try to fit all the pieces of the puzzle together, but that never seems to come to fruition. The highlight of the album “Satan’s Slave” is the track with the most solid flow and is also the only track with differing artwork, a man and a woman dancing with the two hideous demons lurking in the background, probably conveying the man’s ill intentions or a reflection of the artist’s idea of humans in general. Here the drone’s state is changed into a constant ebb and flow rather than the ongoing static elsewhere and balances the album, helping the tracks that lie east and west of it gel together as one whole.

For all the bleakness therein, “Green Meadow” suggests the feeling that maybe, just maybe, after all the darkness Washburn has found his way towards something better – indeed, the one approximation of hope comes at the “Final Incidental”, which actually sounds happy! The last track is even funny in a way and leaves the audience with a feeling that Washburn’s going to be alright. Music saved his soul and “2012 won’t be the year [he] dies”. (Mohammed Ashraf)
This is a WHOLENESS RECORDINGS release:
WHOLE012012

credits

released February 2, 2012

license

Some rights reserved. Please refer to individual track pages for license info.

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about

The Implicit Order Smilax, Kentucky

The Implicit Order is not involved in any wave, stream, genre or scene. I/O started in 1989 as a Mail Art project and by the early 90s it developed into a musical project incorporating many of the early Industrial/Experimental ideas of the late 1970s, 80s and beyond. ... more

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