Vas Deferens Organization (VDO) is a collective based in Dallas (led by Matt Castille and Eric Lumbleau, originally from Louisiana) that has been promoting a highly personal and excessively surreal vision of psychedelic music for years.
VDO is also a studio (which moved to New Orleans in 1998) that provides the most bizarre equipment to psychedelic bands in the area. Castille and Lumbleau recorded a dozen cassettes as a result of their experiments. Their first vinyl release was Miasmata (Womb Tunes, 1996).
With Brad Laner of Medicine, V.D.O. recorded Transcontinental Conspiracy (Quaquaversal Vinyl, 1996 - Niklas, 2011), which features three long Dadaist suites. Purely instrumental, these compositions make use of electronic techniques and tape manipulation. The only connection to rock music is basically the drums.
First Plane Not To Plummet Seaward (sixteen minutes) opens with an oriental-style motif, a kind of bolero with jungle verses, which changes into a frenetic vibraphone music box with a background of tribal percussion.
The melody crumbles into an excited rhythm of drums and electronic trills (a sort of ante-litteram “drums and bass” mediated by the cacophonies of Morton Subotnik), a phase of ingenious interlocking and overlapping of sounds that alone would justify the existence of the record. However, the music becomes even more dissonant, as if the tape were being distorted and played at variable speeds. Then the rhythm resumes relentlessly and the synthesizers begin to sing like out-of-tune birds in a metal jungle.
The percussion takes over again with a metallurgical cadence that leads to violent distortions and dissonances and a chaotic finale of samples.
Last Few Days In The Land Of Happy Dreams (twenty minutes), featuring only Castille, Lumbleau, and Laner, is a more challenging track, constructed with samples and tape manipulations, populated by a heterogeneous crowd of difficult and often extreme sounds.
Even when (after seven minutes) the drums come in, the jam continues to dispense random dissonances.
Devoid of melodies and real rhythms, the suite lives mainly on frenzied collages.
T (nine minutes) is reminiscent of a group of orchestral musicians tuning their instruments.
Nothing happens: the instruments simply emit disjointed sounds, as if searching for each other without ever finding each other, against a nerve-wracking crackling background.
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