After a bevy of live performances in February, the subsequent months have produced a good chunk of output from both Eucci and AODL. This output covers continued growth, progression, and experimentation which has lead to some unexpected tonal shifts and combinations.
The quick list of what’s available. Read on for their stories.
- Eucci, Oceanfront
- Eucci, travelops[eq,tape]
- AODL and Vasectomy Party, Salt Lake///Sun Coast
- AODL, Harborlust.
First up, Eucci and the most significant EP from this time is Oceanfront. The short description? “Dance grooves and melty tape loops. For laying in the warm spring sun. Dancing is permitted.” Oceanfront combines new material recorded in 2015 using some new techniques that brought together a recording, The Changing of the Light (02:45), which brought to mind a long unreleased tape loop composition from 1994, Summerhaze. Both of these tracks bring to mind the idea of napping in the warm spring sun.
Oceanfront is significant as this album and its tracks were compiled, fretted over, and enjoyed on long walks and patio sit-downs on what turned out to be the last weekend our dear companion, the greyhound Betty Joan, was with us. No one loved laying in the sun more than our sweet Betty and this album is bittersweet as a result. It is dedicated to her memory, glad to have had one more long and lovely weekend in the sun with her.
Also from Eucci is travelops[eq,tape], a small two track single written and recorded on the OP-1 synthesizer on a cross country train trip.
We also have AODL with a couple of strong releases. First up is the AODL and Vasectomy Party split Salt Lake///Sun Coast. Hard, dark, pulsing, scratching AODL and equally dark and toxic stuff from Florida’s Vasectomy Party.
Second from AODL is a surprise very-old-timey industrial style album, Harborlust. This came out of a lot of the explorations of new gear and processes used in the February 2015 live shows, the largest of which is known as “the riverYard set” in a nod to the ancestral name and concept of what is now Rive. There are drum machines and sequenced growly synths here, but all done straight to tape using rudimentary on-board sequencing and simple cross device synchronization. It’s rough, lo-fi, dirty as hell, and still full of noise.