#davey harms

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Davey Harms — World War (Hausu Mountain)

World War by Davey Harms

Providence-based producer Davey Harms’ third album for Hausu Mountain, World War is a short intense blast of fractured polyrhythmic techno smeared with noisy grit. On a bed of drum pads recorded at so hot a level they flare with enough distortion to induce a queasy dissonance, Harms layers blips, squelches and acidic strobes that hint at and disrupt snatches of melody in an hallucinogenic wall of sound that sustains over 28 minutes and six tracks. The album reads like a mutant version of a rave with the MDMA replaced by something altogether more challenging and intriguing. Throughout there are signposts pointing back to classic 1990s trance, snippets of euphoria, teasers of tension and build, foreshadows of the ‘drop’, yet at every juncture Harms is there ripping the rug out from beneath your feet.

On “Dealer’s Choice” a robot marching band and sheets of detuned cymbals pummel a familiar kick drum and jaunty ping-pong riff as Harms distorts the trance formula to the point of overload. The disruption continues throughout as the matrix twists in unexpected ways never dwelling too long in the comfort zone, manipulating the genre’s core elements towards extremes before stepping onto the next thing. The air raid siren and distorted squelch that swallows African percussion on “Knowing Hand”, the skittering hi-hat and bottom end throb of “Little Brother” in which the trance cabin surrenders to a termite invasion. World War exists in a space where contingency hunts and certainty is the prey. It’s an altered state fucked up by someone in full control and with full knowledge of the fundamentals. It is also very entertaining. Catholic in taste and irreverent in execution it skips and judders with an iconoclast’s glee, coming to praise techno and bury it in its own detritus. Harms’ previous project Mincemeat or Tenspeed mashed samples, effects and feedback into hermetic maelstroms of noise. Under his own name his music has a clear structure to which he lays siege like a hacker probing the weaknesses to strengthen the core. It’s testament to his skill that this process produces such exhilarating results.  

Andrew Forell

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DAVEY HARMS -- “American Raw”

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Stream Davey Harms’ frenetic Hausu Mountain debut Cables

Stream Davey Harms’ frenetic Hausu Mountain debut Cables

The Providence producer blends noise and techno to gleeful results.

Some may know Davey Harms from his retired moniker Mincemeat Or Tenspeed — a project that saw the producer tying searing noise textures to rigid techno structures. On albums like 2009’s Strange Gods he pushed that combination to energetic and colorful extremes. Though he shed the moniker after 2014’s Waiting For The Surfin’ Bird,…

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200 Words: DAVEY HARMS

(In 200 Words, we highlight a new record we like a lot, via a 200-word review by Marc Masters and 200 words (or so) from the artist about whatever they choose.)

DAVEY HARMS – Cables cassette (Hausu Mountain)

I generally love mystery when it comes to how music is made – and since I don’t get much about gear or technique, even if you explain it all to me, I’m still happily baffled. Yet I’d really like to watch Davey Harms make his amazing music. It’s not that I want to see what knobs he rotates or what waveforms he shapes, but to witness a brain diving this deep into such a singular sound and continuing to mine it for unique, exciting, and awe-inspiring jams.

Cables follows his first EP under his own name (the awesomely titled This Loop is Gonna Be the Death of Me), after years making equally wondrous music as Mincemeat or Tenspeed. Harms extends his longform spelunk into the molten core of fuzzed-out, repeto-blasting hyper-beats, divining yet another batch of gold that’s not exactly like what came before. It’s tempting to say he’s found minimalism here; some cuts are so spacious and subtle they actually sound relaxed. But there’s also lots of fired-up, sandpaper throb on Cables, and Harms’ work is always too complex to sum any deviance in broad strokes. Just bury your head in this new iteration and watch as it changes too.

– Marc Masters

Davey Harms on Cables

Cables are the most important piece of equipment any electronic musician uses. The perfect representatives for the space in between, useless on their own. They're what is interacted with the most during set up and breakdown, the moments you are transitioning to and from making music. They are in my experience, responsible for ruining more sets than any other piece of gear. A broken connection is in its own state always the same, but its effects are unpredictable.   This is a transitional record. From what I can tell, calling a record transitional means it is not good on its own merits, only based on what happened before and after. Transitional in this sense can mean that you only got a small part of the story. But while art can break life down into narratives, there are elements beyond it does even better.   A few years past my friend Tom characterized the shift in underground music as moving towards being 'less about leaving Earth, and more about making good music'. Although this is, in as far as the instruments I've used, is the most traditional record I've ever made. I hope it will be recognized as one that strives for the former, and not the latter. 

Cables is out this Friday Feb. 12 on Hausu Mountain. Buy it here.

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Recommended listening:

Radiator Greys - Denying The Other [Hausu Mountain]

“Craned over his table of synths and electronics, Radiator Greys (Josh Levi) layers together expansive live sessions flecked with textural juxtapositions and torrents of mix-consuming disorder. Hausu Mountain presents Denying The Other, Levi's first full-length album, which distills his ongoing experiments in the noise, drone, and industrial disciplines into a program of extreme performances each capable of transporting the listener to obscure and insular territories.”--from press release

Davey Harms - Cables [Hausu Mountain]

“Davey Harms has carved out a wide catalog of hardware-based technoid workouts weighted heavy with body-controlling beats and fine-grain analog textures, working under his given name and the now defunct Mincemeat or Tenspeed moniker. Hausu Mountain proudly presents Cables, Harms's latest cycle of in-the-red electronic exercises, which finds him augmenting his already overloaded practice with new strategies in structural disfiguration and polyrhythmic beat deconstruction.”--from press release

Bang! Bros. - Food For Thoth [Hausu Mountain]

“ARKM Foam and Mark Johnson terrorize and hypnotize the American DIY underground with their unhinged ecstatic jams under the BANG! BROS...Their newest effort captures the bros' live mangling of assorted drum machines, effects pedals, and grab bag electronics - abetted by Andy Allen's free-form saxophone exploration.”--from press release

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i made this video in under 3 hours it’s made entirely out of stock video previews it will make your body hurt