Childe Bride

Secret Secrets 2010

2011-01-23T15:02:00.000-08:00

2010 was a really great year!
I had the honors of sharing the stage with so many awesome artist. Sometimes as a guest in someone else's project but also with my duo Secret Secrets.

Secret Secret's shared the stage with
Gerry Mak
Collin Langenous's Funk Band
Heavy Winged

Snails
Witch Hat
Whales and Cops
D. Rider of US Maple 1-30-10

Secret Secrets is also very close to finishing our full length record release with
EHSE Records.

MUSIQUE MACHINE MAGAZINE INTERVIEW 2010

2011-01-23T14:45:00.000-08:00

Childe Bride Interview (full, was lost from MusiqueMachine.com due to a server crash)

Originally published at musiquemachine.com
FULL PHOTOS AVAILABLE:
http://arvofingers.blogspot.com/2010/10/links-to-articles-ive-done-for-musique.html

During this time of year, people originally wore elaborate adornments to ward off demons, took stock of food for the winter. Now maybe they buy more non-perishables and go across that same grocery store for a costume. Around Halloween, I think about paganism or occultism and how relevant it is for people to take part as mystics, since that is the imagery that comes up around this time. Even in the most rural areas there is a super store down the road. I think that the word "ritual", as defined by the dictionary, has lost a lot of meaning. Sitting together in front of the television with family or checking one's horoscope on the internet can be a ritual. Being a midwesterner all of my life, I've been west a couple times. I've looked at the unchanging, forgotten desert and found it hard to imagine people living around there making electronic music, for instance. Still, I feel like there are rare people intrinsically finding a way to approach an urban or concrete environment in a manner that is otherworldly, whether you want to call it spiritual or not. That said, I consider it incredibly fortunate and timely that I was able to do the interview that I did, via email no less.

Childe Bride (with a newly added E) is the solo project of Arizona native, Baltimore resident Shana Palmer. It has been referred to as "psychedelic noise folk", "tribal drone", or "a pagan cyber-witch mourning the death of her shaman", but most often the prevalent adjective given is "mysterious". She's toured all over the US, has releases there as well as the UK (some of which came with an owl's feather), and in the three years since she initiated this project, Childe Bride's been on the bill for the International Noise Conference more than once as well as having played a number of smaller fests. In addition to that, she's been represented within a box set focusing on female noise artists.

It's obvious that Shana has rapidly found a home in the noise sphere. Listening to things that fit under that broad umbrella for me is about how the more reflections of someone's personality there are, which exist in the sound, the more I enjoy the end result. In this case, throughout Childe Bride's discography, there are sounds of explosions slowed down, Indian chants, children's keyboards, sitar, shortwave radios, 70s cult movie imagery, creaky machine loops, and a quite clever sample of the Beatles' "Come Together", among other things. Heavily delayed vocals are prominent; layered, chanting voices with lyrics piled on top of eachother, It's almost as if it is to render their meanings subliminal and make the listener wonder which part of the sentence they have missed (if it was a sentence at all). The music occupies a consistently cohesive strain that might perceivably be simple in application, whether it is a calculated song or a 4-track soundscape. But the attention to detail is so keen, variable, and incredibly ornate; juxtaposed with innocent nuances and chance background noises, that it commands attention.

The end result is, indeed, mysterious.

MM: I read that your performances are improvised; serious at times and playful at others. This isn't the conclusion that I drew from it myself, so I should ask: How much of your project is conceptual? Would you say that your material starts more from an extension of an idea or an extension of yourself?

CB: Well, I would have to say that my material begins as both an extension of an idea and an extension of myself. The mixture of the two can result in an elliptical concept that I then weave into a loosely defined structure. I would have to agree that my sets rarely come across as "playful".

MM: Your voice often seems child-like on your recordings. While there's a healthy balance of organic qualities, it can't be denied that there is a fair amount of preparation and conceptual continuity as well. Would you care to share the meaning behind the name? Is it a movie reference, or something poetic involving the practice of Child Marriage? Is it a thesis statement for your work or is it something that became a good moniker to frame your work with?

CB: The name began as a Halloween performance I did at a Future Haunted Condos warehouse space in Providence, RI. They had sold the buildings of a lot of artists and were kicking everyone out, so the artist converted the whole place into a haunted house demolition party. I hung white mesh around myself and did my first Childe Bride performance there. After that, I kept the name because it was befitting to the sounds; haunting, child-like vocals and an atmosphere where "the things that creep around you" could come out of the shadows to play.

MM: How does being on a label called "Teenage Whore" work for you? Is there some kind of artistic meaning in it that smooths over what the label name implies?

CB: I was never excited about the idea of putting something out on a label called " Teenage Whore Tapes," but was excited that someone else wanted to put my music out after only playing my third show as a solo musician! My dark humor also smirked about the similitude between the two names. As a person and a musician I have evolved so much since then. That is why I changed my name from Child Bride to Childe with an E. I wanted to move myself and my music away from the dark and taboo connotations behind the moniker. Childe is an archaic term referring to a youth of noble birth or a youth in training to be a knight.

MM: Were you in a band before that?

CB: Yeah, I was in one band before that called Sickie Sickie. It consisted of me on drums and singing, a guitar player named Mellisa White and Faye Knutson of The Better To See You Withon vocals.

MM: I like it, and it's funny to see small elements of what came to be in your solo project. Where do you think your penchant for Native American imagery came from, and how did it get into the Childe Bride scheme of things?

CB: The answer to that somewhat relates to my childhood. My family moved around a lot and when we moved to the southwest the Native American symbolism that was everywhere really awakened something inside of me. Yet, using the imagery as part of my aesthetic was never a conscious decision. Gary Stevens of the band Head Molt drew the cover for a tape split we did a few years ago. What he drew was a beautiful totem deer with a rainbow shield. Subsequently, people began to associate my music with that style of imagery. It is not a total misapprehension though, my music does embody a kind of personal spirituality that can probably best be represented through Native American metaphors.

MM: I can definitely see how you would get that imagery. I've spent time at White River Indian Reservation in Arizona. I've seen the Indian Boarding Houses, the Native American Museum, and I've spent the night at the bottom of the Grand Canyon. I find the desert to be incredibly stimulating. I remember passing through Sedona with their neon lit sports bar highlighting the "Cosmic Portal" tourist attraction. All throughout my sightseeing I observed what seemed to be visual representations that communicated original Indian beliefs, mutilated by indoctrinated Christianity. I know that there are still some Indians out there that simultaneously believe in Rain Gods and Jesus. Especially after hearing your last response, it seems like your music is a sort of unconscious, spiritually subterranean melting pot at times. Would you care to describe your spirituality? Would you say that your music is a spiritual act in itself?

CB: "White Shamans and Plastic Medicine People," is a great documentary that you can watch online. It speaks about the sacrilegious practices of white people and the misappropriation of the Native American spirituality, like what you witnessed in Sedona, Arizona. I am in no way claiming to have any direct ties to any spiritual belief or religion. What I have developed for myself is a infused brew of different cultural rituals that help keep me sane in the transapocalyptic climate that we live in. I feel that my music used to be more of a personal ritual until more recently, when I have been concentrating on effecting the energy in the room and audience. Daniel Higgs or Nautical Almanac achieve similar effects and they have had a lot of influence on me in terms of performance.

MM: With this new adaptation to the name especially, what does it look like for you in the future? What plans are on the horizon?

CB: Well I have a new collaboration with Mellisa Moore, who does the Whispers For Wolves project. That pet is called Secret Secrets and we will be recording in November for a release on Ehse Records. It is akin to Childe Bride with me singing and playing electronics while Mellisa's drumming intensify's the pulse. I am continuing to record me and my shadow, while preparing totake part in the Los Solo's Female Musician series here in Baltimore. It is a real honor to be taking part in that series which includes women like Maria Chavez and Jenny Graff of Metalux. For that appearance I am building an environment for my music with my own light set up and back drop. I plan to take that set up on the road with me in early December, when I hope to sneak in a small east coast tour.
In further futures, I am really excited about traveling, collaborating and organizing shows in Argentina for the spring. Buenas fortunas!

ICELAND SUMMER 2010

2011-01-23T14:07:00.000-08:00

OPENING SATURDAY 14th OF AUGUST AT 5 pm.

Is there an Icelandic word to express Clarity?
Maybe Kaosmosis...

In The Lives of a Cell, looking at the earth from above (...) it has the organized, self-contained look of a live creature, full of information, marvelously skilled in handling the sun.

Take a look through the microscope.
See within the cell.
We are artists
living our lives,
devoted to our personal beliefs.

Words, energy, sensation, space, echo, ritual, music...
are crystals
delivered
by commitment to materialize this devotion.

The littlest bricks of material realm
propose the shape of the matter.
The way the world happens to look.
It is clear,
crystal clear
and fantastically chaotic.

Zooming in on the illusion of these separate identities.
We find
no clutter without clarity,
no clarity without clutter.

Embrace the chaos in the dirty earth.

Perhaps
chaos does not want to be held,
obstinate like a teenager
seeping through our arms,
permeating out of this cosmos into the next.

Only a limited perspective can show things out of place.
Show us the dirt...
Human being is part of pollution.

Could it be,
the universe is self-correcting,
the earth cleansing itself
making up for its own mistakes.

Life is oscillation
between
being in place and being out of place
take or mistake
clarity and chaos.

Life flowing
in and out
the cell,
the planet,
the cosmos.

(Athena:)

Kaosmosis – a group show at Kling and Bang August 14 – September 12. With a performance opening August 14 at 5pm.
Life springs eternal from the source.
Chaos activates serendipitous cohesion. Form coagulates and dissolves fine-tuning and balancing towards sustainability. A fluid stream spills into consciousness and life rejoins, molds and regenerates. To commune, transfer, merge, synthesize and evaporate; the infinite urge of procreation moans a spiraling eroticism inextinguishable and divine.

Kling & Bang gallery
Hverfisgata 42
IS-101 Reykjavik

Opið fimmtudaga-sunnudaga frá kl.14-18
Open Thursday-Sunday from 2-6 pm.

With
Joseph Marzolla
Nick Becker
Athena Llewyn
8/17/2010

2010 Shows

2011-01-23T13:11:00.000-08:00

Pod Blotz
Twig Harper
Shana Palmer
Carson Garhart
Darren Ho
Sky Crab

Fliers

2009-09-16T16:06:00.000-07:00

October 2, 2009 14karat Cabaret

2009-09-16T11:35:00.001-07:00

14karat Cabert

FRIDAY OCTOBER 2, 2009

The 14Karat Cabaret Presents Performances by

JENNY GRAF
Jenny Graf is a musician and artist who uses the
Tranoe, a tactile analogue synthesizer to blend vocals, guitar and
other found sounds. For over 10 years she has been performing in the
noise duo Metalux and more recently in the haunted electro-acoustical
project Harrius. Her solo performance will present a new set of songs
that reveal her vocally charged, digitally mashed up, electro-chants.

SUSAN ALCORN
Tango Duet with violinist Melissa Hullman.

CHILD BRIDE
Shana Palmer is Child Bride. Born and raised near the foothills of the Superstition Mountains in Arizona, Shana's music
teeters between mysterious, playful and meditative.

AYAKO KATAOKA

The cabaret starts with a short film!

Upcoming Performance For Baltimore's Los Solos

2009-09-16T11:34:00.001-07:00

LOS SOLOS SERIES

December 4, 2009

Upcoming Performance With:

C. RYDER COOLEY is an interdisciplinary artist, musician and performer. Weaving together chimeric images with found props and forgotten objects, she creates cinematic performances and installation spaces. Ryder has participated in a wide range of public works, educational projects and international shows. Awarded Best Performance Artist of the NY Capital District in 2006 & 2007, selected works have been performed and installed at locations including: White Box and Exit Art galleries in NYC, Yerba Buena, Intersection for the Arts and Theater Artaud in San Francisco, Proctors Mainstage Theater in Schenectady NY, Pan American Art Projects in Miami FL, Watermill Center in Long Island NY, Gay Pride Festival in Bulgaria and public art projects in Indonesia, El Salvador, France and the Czech Republic.

ANIMALIA: STORIES OF COLLAPSE, CALAMITY AND DEPARTURE
A lyrical fairytale by C. Ryder Cooley

Shana Palmer arrived in Baltimore, MD last May from Boston, MA where she received her Bachelor’s Degree in Painting at the Massachusetts College Of Art. She is a multidisciplinary artist and self-taught musician. Her solo music project Childe Bride is going on its third year with releases in the US and in the UK. Her improvised music is described as mysterious tribal drone and sometimes noise folk. The consistency that exist in that the music is always narrative, taking the audience on a walk often through the world of shadows and forest at twilight. Since moving to Baltimore she has been involved in Baltimore’s High Zero Festival doing collaborations with Jenny Graff Shepard and film installation work in last years Transmodern Festival. She is currently the other half of the debut band Secret Secrets where she juxtaposes her electronic music with Mellisa Moore’s (a past Los Solo’s series performers) drumming styles. Secret Secrets is looking forward to an Ehse Records release in the future.

Review and Links Impose Magazine

2009-09-16T11:16:00.000-07:00

IMPOSE

Listen: Childe Bride

child bride from maryland

Not much is known about Childe Bride, the mysterious, Maryland-based, one-woman psychedelic/drone outfit. What can be gathered, however, is that her addictive cacophony of heavily sampled work isn’t the mere dissonance of mystical jingles and heavy, distorted percussion. With Native American references and imagery in her song titles and album artwork coupled with the sporadic, chanted vocals that might indicate she partakes liberally in a ceremonial peace pipe of her own, the end result is layered and nuanced.

Childe Bride, “Indian Nation”

Childe Bride, “Humanalog”

Reflections on Prism City

Posted by Al Roland in bytes on Thu Jun 25, 2009 | Permalink | 2 Comments »

Whartscape 2009, Sunday night

whartscape 2009 sunday night
[A survivor of Sham's shamanistic polaroid holocaust.]

Words by Nate Dorr
Photos by Nate Dorr and Joe Perez

The final delirious gasps of Whartscape could perhaps be catalogued by types of light: Child Bride’s lamplit deer, Nautical Almanac’s light orbs and backlit sheets, that one guy (name lost to 3am insensibility) with the blinding, heavy-duty spotlights synced to his keytar-like board of electronics, and of course, the eerie glow of burning bird. Wait, what? Yes, the Shams set deserves notice for pushing the closing night sensation of unreality to its furthest extent: chalked sigils on the floor, a dead bird burning at the center, pungent feather-smoke opening gaps in the crowd as it wafted towards them, eerie black polaroids whose subjects tried to hide from the flash (anticipating Jonathan Shams’ later claim that those photographed in that way no longer possessed souls). Basically demonology, or some kind of cult ritual. Eventually Dan Deacon confiscated the smoldering bird, for fairly obvious and reasonable reasons, certainly, and the set moved on into more expected Shams territory: pitch black dance music (sample lyric: “I want to cut your face / while I’m fucking you”) with icy beats, warped vocals, and, this time, sax skronk punctuation.

Just before that bizarre interlude: DJ Dogdick’s most precisely warped hip-hop to date. It seems unlikely that weird, detuned sirens have ever fit so sleekly into a beat. Just after: resumption of danceparty with Teengirl Fantasy, and finally, an excellent chop-pop set by Smart Growth, whose Denny Bowen (also of the Dan Deacon Ensemble and Double Dagger), along with Greg Fox (Teeth Mountain, Liturgy, Dan Deacon Ensemble, GDFX) probably deserves some kind of medal for tireless multiple appearances.
Child Bride
whartscape 2009 sunday night

Sounds At Myspace

2009-09-16T11:08:00.000-07:00

www.myspace.com/thechildebride

Past Shows And Links

2009-09-16T11:03:00.000-07:00

Past Childe Bride Shows:

Child Bride

January 15, 2007 Rotture, Portland OR

February 10, 2007 Nom D' Artiste, Boston, MA W/Sightings, Demon, Rocca Corracus

February 17, 2007 Miami, FL International Noise Conference

February 20, 2007 AC Temple House Birmingham, AL THUGGIE CLOWNEE #2 w/ Noise Nomads Lazy Magnet Kissy Kissalot

March 9, 2007 PA's Lounge Boston, MA W/ White Mice, Gondoliers, Four Horse

April 8, 2007 Sugar Gallery, Portland, OR W/ARGUMENTIX+KITTY MIDWIFE SIXTH DEER+NIGHTGOWN SCARD+FRIENDS.J Demeo Blog

May 11, 2007 Nom D Artiste, Boston, MA W/Ganja, Kites, Heathen Shame

May 16, 2007 Gallery Inzane, Providence, RI Hard Line Elephants, Chris Cooper, Bill Nace,Superior Human Vomit, Diary of Lisa Frank

July 10, 2007 The Bank, Baltimore, MD W/ Tunnels, Acre and Mongol Wives

July 11, 2007 Bobos Philadelphia, PA W/ Rapid Ice, Wise Blood

July 13, 2007 Cake Shop, Brooklyn,NY W/ Night Wounds,Blues Control/Mouthus collaboration, Fogeaters, Home Blitz

August 9, 2007 Rotture, Portland, OR W/Social Junk

February 9, 2008 Bobo's, Philadelphia, PA W/ Art works by Lindsay Beebe Music by: Bobo Rapid Ice Drums Like Machine Guns Private Time and DJ Miles

February 11, 2008 Nightlight, Chapel Hill, NC W/Twink Bully, Boy Zone,Hugs + Kisses, Rage Against the Cage

February 16, 2008 International NOise Conference @ Churchills, Miami, FL
http://www.squelchers.com/

February 18, 2008 LE CHATEAU NOIR 550 A SOUTH RAYS ROAD STONE MOUNTAIN GA 30083 USA ZANO (atlanta) EILIYAS (atlanta) IOVAE (ohio) WASTELAND JAZZ UNIT (ohio) RADIO SHOCK (newyork) JUSTICE YELDHAM (australia) EILIYAS + ZANO (atlanta) MUGU GUYMEN (stone mountain) YELLOW CRYSTAL STAR (pdx) EAR IS THE BRAIN (tallahasee) DICK NEFF (birmingham) PONY BONES (stonemountain) ROTTENMILK (chicago) SECRET ABUSE (mem of deep jew) WET HAIR (mem of racoo-oo-oon) EVAN MILLER (fahey style guitar) NIMBY (weird slime dub zone) PENSIL (atlanta electronics) DAN HOLE POND (athens) TEMPLE OF BON MATIN (all points) PROJEXORCISM (northcakalaki) THEHOLYEXPERIMENT (newyork) CHILD BRIDE (boston and paris)

March 11, 2008 Child Bride and The Haunted Rope doing live sound for the films of Saul Lavine

April 18, 2008
RECORD HOSPITAL FEST 2008! Cambride, MA W/Heathen Shame, Libyans,Sun Shine Sanitarium( Childe Bride plus The Fabulous Angela Sawyer, Brain Killer, The Skaters, Social Circkle, Dolphins into the Future, Ultra Dolphins, The Conversions, Elder, Abraham Lincon Brigade, Scapegoat, Dreamhouse, Greyskull Link: Bill T Miller Photos

April 24, 2008 International Noise Conference Tour, Cambridge MA.
The True Debut of Sunshine Sanitarium W/ Angela Sawyer, Of Wierdo Records. The only Sunshine Sanitarium Sounds can be found on The Ladyz In Noyz Compilation.

June 7, 2009 Secret Project Robot Brooklyn, NY

W/Dream House

August 8, 2008 NYC, Rock Carving Oraclestra W/ Jenny Graf Shepard @ D Amelio Terras.

September 20, 2008 High Zero, Baltimore, MD

An afternoon of compositions for actions and sound, performers and audience.
By Jenny Graf Sheppard

1. A Performance of Experimental Archeology by the Stone Carving Oraclestra

Audience members are invited to consult the Stone Carving Oraclestra for individualized stone carved readings and channeled phonemes.

Performed as an act of experimental archeology, the Stone Carving Oraclestra will channel sounds through contact with specially selected boulders, and, at the same time, carve the sounds directly into stone. Audience members may choose to have a personalized “reading” by the Oraclestra. This piece demonstrates a spontaneous burgeoning of sound with human action onto geological matter.

The Stone Carving Oraclestra:
Jenny Graf
Miranda Bushey
Shana Palmer
Katherine Porter
Serena Williams

February 21, 2009 Transmodern Arts Festival Fundraiser @ The 5th Dimension, Baltimore, MD W/With Connor Kizer's Psychopompoi, the Degenerettes, Dan Breen's Burlesque Flea Circus, DJ Balagan, and DJ Santina.

March 13, 2009 Bard College, NY W/Lazy Magnet and Carson Garhart of Sejano.

March 14, 2009 Paris London West Nile.

March 20, 2009 Zodiac W/ Dan Higgs, Uke of Spaces and Carson Garhart.

April 2nd - 5th, 2009, H&H Building, Baltimore 6th Annual Transmodern Festival-Live.Art.Action.

April 9, 2009 Philadelphia Institute For Advance Study W/ Yellow Crystal Star, Amir Coyle, Boy Zone , Suicide Magnets

April 12, 2009

April 14, 2009 The Elevens, Northampton, MA W/ Yellow Crystal Star, Boy Zone and Amir Coyle A review at Friendship Braclet.

April 17, 2009 Robinwood Concert House, Toledo, OH W/ Mr. YCSTAR

April 18, 2009 The Mopery, Chicago, IL W/Skoal Kodiak, Yellow Crystal Star,Daniel Francis Doyle, Danger Boy.

April 21, 2009 Art of This in Minneapolis, Minnesota -Improvised Music Series w/ Yellow Crystal Star, Panoramic Handcrank Painting Machine

April 25, 2009 Sorority House, Portland, OR W/Chen Santa Maria, Dan Friel, Tunnels.

July 12, 2009

July 17, 2009 08:00 PM Exotic Hypnotic @ Artscape Baltimore, MD

Description:http://exotichypnotic.org/ Performance with Mellisa Moore of Whispers for Wolves. 12PM Paul Neidhardt + Jorge Martins Careful and crafty experimental percussion and wild wave. 1PM Child Bride w/ Melissa Moore Frantic drums with exorcised electronics. 2PM Lafayette Gilchrist Baltimore’s premier jazz composer plays solo piano. 3PM Calusari (Ami Dang) Indian classical music meets contemporary electronics. 4PM Weekends Furious architectural drum and guitar duo. 5PM Il Culo Baltimore’s hottest, tightest funk unit playing harmelodic music. 6PM Polygons Mind-bending electronic dance music from the Hexagon space. 7PM Larksong Vocal Ensemble Acapella classical music from the 16th to 20th centuries. High Zero Foundation

August 14, 2009 Voice OF The Valley Festival Pentress, WV W /Northampton Wools Laundry Room Squelchers Emeralds Aaron Dilloway Carlos Giffoni Lambsbread Jason Zeh Leslie Keffer Wether Sword Heaven Ryan Jewel Tusco Terror Steve Kenney Stink Synth Telecult Powers Bee Mask Skin Graft White Mice Social Junk Infinty Window God Willing Unicorn hardon Tori Anus Lazy Magnet Superior Human Vomit Tiawan Death Ladyland in Flames Paid in Puke Puffy Areolas Twilight Memories of the Three Suns Child Bride Yellow Crystal Star Teeth Mountain Sewn Leather Narwahlz Fluxmonkey Fragments Terra Nova Piss Piss Piss Moan Moan Moan Sam Goldberg Tiger Hatchery Jeff Host Moth Cock Earth Crown Kristmas Thursday Club Sky Limousine Face Worker Biff Boff Barf Outer Space Dwarf Whore Bon Tusciani

Lost At E Minor

2009-09-16T10:27:00.001-07:00

New Music / Child Bride

April 10, 2009 | New Music | by Gerry Mak |

One-woman noise act Child Bride makes droning, ambient, sample-laden, tribal noise that sounds like a pagan cyber-witch mourning the death of her shaman.

Foxy Digitalis: reviews

2009-09-16T10:21:00.000-07:00

Child Bride "Bell Witch"

Child Bride

Baltimore doesn’t ever really trip this hard. It’s a fun city, with lots to do, but one would be hard pressed to refer to it as psychedelic. Child Bride might be the first to dispute that and I fully support it. Trippy layers upon trippier layers, with mumbled vocals and radio static. “Hexagram 64” also starts in the static and then, well, never really left there, but less trippy. “Access of the Beast” tends to get downright ugly, showcasing some gnarly oscillators and delayed vocals ala Tom Smith of To Live & Shave in LA. It’s the kind of song you warn your roommates about before you start recording. “The Fate of Oedipus” is probably a recording of Joe Meek’s dreams when they were really morbid. Finishing out the disc, “Acid Sin” is the subtlest of the bunch. Overlapped acoustics, straightforward singing, but it’s practically gothic in its delivery, dark as hell. The natural reverb could very well have been due to the walls of a mental institution, but then there’s the creepy reverb too. Top notch weirdness. 9/10 -- Andrew Murdock Livingston (20 August, 2009)

Child Bride "Reflections on Prism City"

Blackest Rainbow

Child Bride?s post-Halloween catchall spook-out droning pieces seem more at home in the chthonic places than on the slopes of ecstasy-reaching Olympus. The vault vibe of sampleadelic dark is thick here, there?s little of the light offered in the album?s title perceptible here. Even so, this disc has an unsteady start, enough to almost sink the dedication of a casual listener. The opening ?Falcon Drops a Bomb? pulling just one too many generic sounds into its mix - Native American samples have been so ODed on that they?re now best left to the new agers or field recordings. This slight aside, overall the album is a major success, "Reflections on Prism City?s" wonky three-track charm winning out.

There?s a telling sliver of NWW infects the October skin temperature pop on ?Posh?s Shadow Self?, a glimpse of deeper wells to explore for Child Bride?s future releases. Child Bride inhabits a decrepit ballroom of dissatisfaction synth waltzes of dissatisfaction - no-fi colour-drained pop poking its head out of drone?s tenements. There?s sitar toned burgundy soaked shroud blues with a death?s door Kristin Hersh sound alike on vocal - an indication that Child Bride are already reaching beyond possibly imposed expectations. 8/10 -- Scott McKeating (17 September, 2008)

Review of Strange In A Stranger Land

2009-09-16T10:07:00.000-07:00

... creepy, almost ruth white-ian transmissions from this baltimore by-way-of boston artist, with ties to the whole dreamhouse “thing” ...

heavy psych press release...

____________________________________________________________________________

hp33: child bride 'strange in a stranger land' c36 edition of 50

baltimore jammer brings you on a journey to the unknown. echoed out
sci-fi tribal minimalism. lost vocals, mesmerizing bell and keyboard presence.
wander into the twilight zone. relax in the trance.

heavy psych (usa) #hp33 cs

child bride “strange in a stranger land” c36 cassette

olympus mons
valles marineris

Sounds Of Strange In A Stranger Land Cassette

2009-09-16T09:46:00.000-07:00

Strange In A Stranger Land, Heavy Psych c36 cassette 2009