Omniverse of Defretting Mystery Music~Maps: the history of X/\RRIER Infrastarwerx Recordings {primer}

     What is Xarrier Infrastarwerx Recordings? Is it Carrier Communications Cassettes in the 21st century digital download era? The webpage posts are the modern mini-zine, while both auditory & visual aspects prevail. The addition of social media outlets are the new ‘wallpaper flyer pasteups’ heralding new music for the listeners.

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     Pre-history: the first evidence of the three main {later} contributors to Wept/Xarrier was the {future} bassist on vocals & lyrics and {then} keyboard player’s added Apple II+ drum sequencing first song recorded in mid/late ’84, with videography by who would later become the singer of Wept. The same duo of Jhost & Vorticite did a second cassette>cassette recorded song ‘Exurbia’ which also included Xopher’s 1st known recording of vocals from who would go on to record vocals on each subsequent Wept album up to the 1993 session {which technically was 1 Wept song from the 4th {EXIT} album and another being a cover version of bassist Vorticite’s other band at the time A Picture of Madagascar}.
 
     What type of music were/are both {84~93 & 2010~2014<} eras of the label? The label began as a rock label to promote the rock band Jesvs Wept. From inception, the idea was that the best communicating, loudest ‘live’ format and genre w/ best chance of performing to promote the music was rock. All 4 ‘Wake II’ phase Wept bandmembers recorded solo works as well as then ‘Wake I’ lead guitarist’s collaboration w/ Wept vocalist before most from the group went on to university in late ’87. After the first year of school the singer moved back to the state where the other 3 current bandmembers were studying. The group performed a party gig, a sold out club show opening for avant rock legends and it’s own art gallery opening displaying the label/bands works.
 
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     The keyboard player had been gone since fall ’87, by now it was winter ’88 and after a reasonable (unreleased till 2012) recording later named Winter Solstice EP the group, while officially never disbanding  remained inactive till the 1993 2-song studio recording mentioned above. Neither the band themselves nor the engineer/producer of the sessions promoted that single following the session, which was a misdirection since it was and remains the best ‘completed’ {though the 2005 version of ‘ikon/deforest/telecaster’ never was finished with vocals or bass on 1 song, at least ikon & deforest were musically superior to either the ’93 or ’88 versions} songs Wept achieved to date. It’s true the interplay of live & overdubs is more spontaneous and natural, the drumming {in this case by Vorticite} more synchronized in tempo, the bass sound equal but different then the ’93 and the guitar clearly more evolved tonally/technically on the ’05 session, 93’s high fidelity sonics alone beyond even the ‘stuck at instrumental’ level of completion remain the bands highwater mark.
 
     Although the singer and bassist did collaborate on two multimedia leftcoast art gallery Exhibit [] shows {and the singer did multiple solo painting and photography openings}, as well as creating 7 issues of {the 3rd} zine the label had produced, no new music under the Carrier/Xarrier name were added to the catalog for the next 15 years.The actual songs by Wept were kept extant by the guitarist and bassist doing a half dozen informal rehearsals, often w/o amplification playing unplugged electrics in a big city apartment situation more often than not. There was 1 ‘Starball/EXIT quartet’ full band rehearsal in the mid 90s in their original ‘garage/basement’ envir0rigins, and this was to be the last time the group would play music with that crucial lineups drummer. That session did not hold any particular magic, and is not lamented for being unrecorded.
 
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     There was also a multi instrumentalist jam session recorded in the sound of music studio that the singer (who fully produced and co- engineered the session w/ the regular studio tech} and bassist who provided drumset/instruments and found local musicians including a stellar rock~reggae drummer who shined in the properly recorded semi-cavernous tall ceilinged space. The intention of providing Dub rhythm section tracks for the singers then label he worked for never came to pass, and the unfinished multitrack master remains a project that has the key element of excellent drum performances w/ equal audio quality any great song or album requires. Yet building up these raw beats into a worthy completed work has only shown itself to be worthwhile in 1 finished song known as ‘LH235’ as named after a digit machine printed ‘hand painted’ oriental wall scroll then on the bassists common room. Which fit the identity of the music precisely: partially mystic and partially mechanical as all the best Xarrier iceage music blends to some degree both parameters.
 
     The followup to this session happened at the singer ‘treatment center’ studio in just under a decade later, with less musicians yet much more consistent results. This 3 song mini-epic later filed under the Zultanz u.v. P0|ar Vortyx project ‘Warloch HydraMedusa vs. Zone11/23’ would be added to w/ 3 more tunes several years later with another session at the same recording spot. This 6~song Ep is an unyet remastered  or released {to be the first official EP, while actually chronologically the last to be recorded} by Z/PV. At this second session creating enough music for the EP, Vorticite also contributed to a similar to the ‘LH235’ song session multi-instrumental player jam session at ‘Closer’ studio for the upcoming antimatter album ‘Our Lady of the Skies’ which was put out on a separate label the main artist Xopher then recorded for. 2 songs on the CD featured Vorticite’s bass playing when done.
 
     In chronology the next session was the 2005 Wept duo returning to the pre-band duo format of Vorticite and Jhost, only this time w/ the former on live drums and overdubbed bass and the latter on a Les Paul into a Weber powersoak amped by his Mesa combo} for 3 songs as described earlier. 5 years later on Independence Day sans irony or so it seemed, Jhost posted an ‘about’ page and a few sentences post thus enacting the beginning of the Xarrier website homepage. He had reserved the domain name some years earlier. Subsequently Vorticite and he developed content, sorted through and archived recordings {some rediscovered thought to be lost} which were then digitaly transfered/ remastered as uploads. This included Serpent’s Exile, Sultanz of the Vortex/ Looking Glasses {N.P.}. jh0st’s own solo work for the label and the majority of Wept’s “studio efforts”. Though not literally, as that series of unique non-album mixes has yet to see the light of day!
 
     The idea which began when he asked Vorticite “what’s that palm~muted metal riffology” when hearing an available Les Paul casually rocked had by then become 7 songs
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called for a project Vorticite had named Serpent’s Exile. Vorticite’s vision of a lyrically {which he wrote and Jhost sometimes adapted to his lead vox approach} pro-animal progressive metal w/ gothic & doom overtones had reached it’s zenith. Jhost added vocals and a variety of instruments including programmed drum patterns to Vorticites arrangements for lead and rhythm guitars {who also played bass and added vocals on different songs}. These sessions over a few years from 2010~ 2012 that produced the Wolftriniti ‘xingle’, which presaged the ENTER: Wake {V}orticity album. A single party-BBQ concert was enacted w/ a pickup drummer and to date as the only live example by this group. It was both audio and video recorded and is in process of being mixed & mastered for official release, including rare rehearsal outakes of non-album tracks.

 
     Vorticite morphed the original Wept/Exile sister bands idea into the final Serpentz u.v. Vortyx Is|e/ Sultanz u.v. Polar Vortyx twin headed Rorsach representing the metal edged progressive and psych doom space Rock personas in tribute to all the shape shifting genre defying influences which helped create both. jh0st soon after created his own solo music webpage and started recording a Bossa Nova style album. He moved his first 2 works Animus & Resonance {his earlier ECM/PMG influenced, pre-indie rock before ‘Statik’ series} to that page while copies of Staik I/II/III remained for preview/sale on Xarrier.  Antimatter’s backcatalog was the next part of the story for the label, as will be the early SuvtV, Rudenotse and the fully improvised avant~jazzcore of 45/102 & deep space meditations of Thee Looking Glasses~{North Pole.Why?} boxset ‘el Capstan Blackbyrd Spyrax vs. HydraMedusa Warlochz vs. Confederation Frualein Zyborg’. Coming soon to you from a galaxy close far away. . .
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Christopher Wassell who drummed on the 3rd/StarBall Contribution and final till now 4th/EXIT Jesus F’n Wept demo albums has his 1st solo art..

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