Experimenting with analog synths and harmonic reverb patches. Ice music, winter’s a-comin’.

EP/maxi-single. Piece written for live performance on August 6th, 2016.

Electro-acoustic kosmische drone.

Cosmic desert drone.

Desert meditations.

Gamelan-inspired junk jazz and meditation.

A collection of fake jazz recordings.

Nearly hour-long track comprised of krautrock-inspired jams from various sessions in a Cosmic Jokers style of collage.

Cosmic analog synth and electric guitar drones.  In honour of (inter)National Drone Day 2016.

In October 2014 I began recording what would become the OCTAMENSIUM CYCLE—and album a month for eight months. It begins with OCTAL (October 2014) and ends with MAZE (May 2015) and signals my renewed interest in synthesizers.

Retro krautrock synths, fuzz drones, live-looped acoustic percussion, psychedelic flutes and celestial vocals. Recorded in October of 2014. Released on Inyrdisk (iyd108) Month 1 of the Octamensium Cycle.

Retro-futurist ambient synthesizer improvisations. Recorded in November 2014. Month 2 of the Octamensium Cycle.

In Roman mythology, Decima was one of the Parcae, or the Fates. She measured the thread of life with her rod. She was also revered as the goddess of childbirth. Decimate: v. to kill one in every ten of a group as a punishment for the whole. Recorded in December 2014, month 3 of the Octamensium Cycle.

Ambient piano and synthesizer improvisations. Recorded in January 2015. CD released on Assembly Field. Month 4 of the Octamensium Cycle.

Kraut drones and middle eastern jams. Recorded live in-studio during a feverish bout with Norwalk virus in February, 2015. Cassette released on Tymbal Tapes. Month 5 of the Octamensium Cycle.

MARTIALIS: of or pertaining to Mars. Synthesizer meditations on the red planet. Recorded during March 2015. Month 6 of the Octamensium Cycle.

Analog arpeggiators recorded in April 2015. No drum machines were used in the creation of this recording. Cassette released by Metaphysical Circuits. Month 7 of the Octamensium Cycle.

Solo guitar and synth drones recorded in May 2015. Month 8 of the Octamensium Cycle.

Vemödalen – the fear that everything has already been done. Double album. Another 2.5 hours of music culled from the same sessions that produced the “ZWERM” album. All sounds produced by a Telecaster and recorded live direct to 2-track digital during rehearsals during Spring of 2014.

While rehearsing for live dates in Winter of 2013 and Spring of 2014 supporting the Rillingen and Heurter albums, BABEL recorded over 11 hours of prepared guitar improvisations (direct to 2-track stereo). These sessions were distilled those hours down to one 79 minute album titled ZWERM. The word is Dutch for “Swarm” and is a reference to the buzzing, wasp-like sounds created by placing an electric toy insect near the pick-ups of his Telecaster. Those familiar with BABEL’s previous work, will know what to expect from these solo guitar explorations—percussive, almost industrial rhythms blended with harmonic drones and sparse, lyrical melody lines.

RILLINGEN (meaning “Shivers” or “Chills” in Dutch) is part 3 in BABEL’s trilogy of improvised, solo pieces for electric guitar using extended techniques and echo loops. This outing is more lyrical in approach than parts 1 & 2, with an emphasis on drone and ambient texture. Recorded live, direct to 2-track on Mothers Day, 2013, in six takes (three of which make up the 37-minute closer) using echo loops and, fittingly (though pun not intended), an Electro-Harmonix “Freeze” pedal.

Part 2 in BABEL’s trilogy of improvised, extended technique pieces for prepared electric guitars. As with HEURTER (part 1), guitar and bass are primarily treated as percussion instruments. These pieces also feature delay loops, junk percussion, wind instruments and electronically manipulated vocal performances.

Limited edition CD available in the Arachnidiscs Recordings Store.

Three track EP. Solo electric guitar improvisations. Telecaster, mallets and loop effects. Recorded live direct to two-track, late 2012. Limited edition CD available in the Arachnidiscs Recordings Store.

“Performed like some ancient rite to awaken the demons chilling in his Fender Telecaster, Babel gives voice to evil through mallets, loops and delays. However, this ain’t your regular evil, this is a special side-show blend: Evil music that lures you into an oxymoronic vortex of warm and fuzzy dread, yet never without moments of light within its droney darkness. Although not proggy enough to score a Dario Argento film, there is definitely a horror show aspect lurking within Heurter. Do yourself a favour: listen to this before you sleep to soundtrack your sweetest nightmares.” ~ JT Stephenson, Weird Canada

Improvised/decomposed works for mixed percussion and glockenspiel. Limited edition CD available in the Arachnidiscs Recordings Store.

“Glockengeister finds BABEL in a quiet, minimal mood, experimenting with a recently acquisitioned glockenspiel that acts as a centerpiece for the album. Joined only occasionally by sparse percussion, that is similar to the backing bells of his Moonwood work, these pieces take all the time they need to mature, lasting anywhere from one and a half to thirteen minutes. There’s a real feeling of exploration on this disk, as if his new fond instrument were a huge cathedral he had just inherited, and he was wandering threw all the rooms, discovering their particular personalities. Some require more attention than others. Some are busy with bells. Some are barely there. Overall, it’s a very soft, spiritual atmosphere that should be your next soundtrack for falling asleep into lucid dreaming.” ~ Hippie Cult

Limbus: Inspired by the lifecycle of a tree—from seed to recycled paper—the Limbus suite sprawls skyward while rooting itself deep in the rocky murk. Drawing parallels between the root systems of plants and our own limbic system, harsh, bowed guitar drives over delicate, leafy arpeggios backed by percussion textures ranging from sparse to pummelling. 59 mins. Limited edition CD available in the Arachnidiscs Recordings Store.

“The representation of tree life cycles is mostly very dark here, with sludge metal signifiers – in the beginning, very repetitive chord progressions with layers of distorted and bowed guitar, and various heavily reverbed percussion interjections. Section VII is slower and less rhythmic, with sadly drifting bowed notes entering and leaving in almost classical fashion; it’s an interesting mixing in with a more abstract sound field. Bright plucked guitar enters in section VIII, with piano progressively driving section IX. One interpretation here is that the dark, brooding music is somehow a representation of what a tree “sees” in its lifetime, i.e. human activity. As the sections pace onward, the suite seems to get more organized somehow, as if the tree is gathering wisdom or looking more and more forward to the next part of its life cycle. Or that the entrance of piano actually occurs after the tree’s death, and the brighter sections represent its decay or afterlife, as it were – which would be an interesting commentary on life and death per se. Either way, the sparseness of the final section (XIII) is an unmistakable hint at ultimate nothingness.As with all Arachnidiscs releases, rendered and packaged with extraordinary devotion and craft.” ~ Foxy Digitalis

Morpheum: Situated somewhere between the 20th century minimalists and the no-wave noise composers of the 1980s, Morpheum explores the tranquility and violence of dream states though a suite of duets and quartets for piano, mallet instruments, electric guitar and Taiko-inspired percussion. Languid, evolving melody lines sleepily weave through each other before cascading arpeggios awaken like a tsunami crashing through a nuclear reactor. Subtle and epic, peaceful and cacophonous, safe and perilous as an ocean or a dream. Limited edition cassette available in the Arachnidiscs Recordings Store.

“Part of Rehlinger’s distinctiveness is certainly due to his prominent use of atypical instrumentation (like metal bowls and woodblocks), but his aberrence runs pretty deep stylistically too, as he seems to draw inspiration equally from brooding post-rock, classical minimalism, Harold Budd (particularly his love of heavily reverb-ed piano), and probably even Martin Denny-style exotica. The four-part title track takes up the bulk of the side and sticks mostly to delicately melancholy piano motifs, but the many curious and sudden dynamic shifts and detours make Morpheum feel more like the soundtrack to a film than a stand-alone suite. I think it’d be a pretty compelling film though.” ~ Foxy Digitalis

Ten pieces composed using ratios. Written for hammered guitar, kitchen utensils and various metal objects. The music falls between John Cage‘s Three Constructions, traditional Japanese folk music and a manufacturing plant. Limited edition CD-R available in the Arachnidiscs Recordings Store.

The impromptu sessions that resurrected BABEL, one of the monikers used by guitarist/improviser JAKOB REHLINGER. Intended to be an homage to Terry Riley’s tape delay/loop technique by MOONWOOD, the recordings evolved into something significantly darker and harsher. The result is a little more Neubauten playing Steve Reich and a lot more No Wave noise meets a Taiko drum ensemble who’ve had their drums replaced with oil barrels and backed by guitars played with mallets. Three movements, 51mins/51secs total.