Justic Marc Lloyd – Your (CD, Love Earth Music)

Drone, Glitch, harsh noise, Noise, psychedelic


“[Your is a] conceptual effort intended as a highlight of JML’s output,” the album notes state for Justic Marc Lloyd’s solo release, and this is as good a summary as any that I can think of. Over the course of multiple monikers in the noise hemisphere, including Pregnant Spore, Dementia and Hope Trails, and his wall output as False Flag, Lloyd has spanned the gamut of the genre: HNW, harsh noise, drone, tape loops, electronics, glitch. Not every release incorporates all of these elements, but Lloyd has been right there on all of them, successfully delivering excellent releases at every turn. On Your, he combines all of these sub-genres for an eleven-track album that sums up his diverse discography perfectly.

Your is not a collection of eclectic songs that have relatively little in common with each other. Despite the variability of sound, Lloyd has crafted an album that swings effortlessly between genres, often in the same track. “Feeling Submissive? Signal Two: A Thumbing” strikes a balance between the wonky tape loops and the rhythmic, as does “The Number Five Tasted Wrong, Part 2.” The opening moments are full of Lloyd’s penchant for grabbing interesting sound clips and pairing them off together.

The album continues into the other elements Lloyd has worked with in the past. “Most of the World” is a guitar-driven psychedelic swirl complete with whispered vocals and a clicking computer error chirrup; similar things occur in “Most of Our World,” but with a more electronic bent. Lloyd follows many of his tracks with a sequel part, using many of the same elements in unique ways; it keeps Your feeling fresh and focused, continually reusing and recycling similar sounds.

“Seemingly Under-Lion Self-Talk in the Form of Adam’s Sharp and Heavy Apple” hits on the harsh noise wall crunch with a high-pitched but lo-fi feedback rumble before opening up into an airy drone. Your ends with a couple of rhythmic, warped numbers, one of which spans for nearly ten minutes, to finish strongly.

Lloyd has really crafted a fantastic disc, and any of those who have followed his other work will find themselves right at home with nearly an hour of material. Your is meant to be a comment on motivational works and especially those of Wayne Dyer, and it’s hard not to come away from the album with a more positive light despite the discordance: accept the chaos and malfunction, because “you feel how you think.”


Justin Marc Lloyd – A Cycle That Dirties Itself But Never Ends (3″ Biz CD-R, Serious Business)

Drone, harsh noise, Music, Noise, Review


Serious Business is a label that only releases on mini biz-CD-Rs – these hold about five minutes’ worth of material and are excellent for getting a quick glimpse at a project. Justin Marc Lloyd sends up one track for five minutes of a looping synth track that makes significant use of its short time.

The titular track uses the whole length of the CD-R for that one synth loop; it is the mentioned cycle that dirties itself. It starts out crisp – there’s some additional electronics and whirs overtop of the tone that gradually begins to weave its way out of the track, first fairly unnoticeable until some small pops and blips begin. Then it leaves just the loop for a bit, allowing it to smolder, until the cycle again dirties itself with a little bit of static.

All of this starts to become a bit chaotic at the end, though, once the feedback increases. There’s a moment where things can’t really get any more blurred for the loop, and that’s when a harsh noise burst kicks in to carry the track out. The glitchy cuts do sound like they’ve been sourced from the original loop, although I’m not sure if that is the case.

It’s a tight, thematic approach to the release, although I would have liked to see the loop return again towards the end, if only to enforce the never-ending cycle. Still, it’s absolutely worth it to check this out, especially at such low cost and short length.


Rainbow Bridge releases Pregnant Spore 2xCD-R “Growth”

harsh noise, News, Noise

The new 2-CD-R set from Pregnant Spore (Justin Marc Lloyd of Dementia and Hope Trails, Sensible Nectar) is now available from Rainbow Bridge. Titled “Growth”, the release finds Pregnant Spore moving in the titular direction with real-time noise recordings without edits. 13 tracks limited to 40 copies. Get them now, with the following extra features:

Hand-assembled, hand-stamped scrap-booking card-stock packaging and hand-stamped CDrs.
Contains track listing and a copy of collage
artwork made by Justin Marc Lloyd.”

Buy it from Rainbow Bridge for $7 US/$8 Canada and Mexico/$10 w0rld.

Pregnant Spore – Snap_Argue_Cry (3″ CD-R, Pigdurt Productions)

Drone, Noise, Review

The new moniker for Justin Marc Lloyd, Pregnant Spore, closes out the Dim Dusk Moving Gloom era of the artist. Pregnant Spore is the natural progression from that earlier project, emphasizing the same ideals while trying out some new ideas in the process. This 3″ CD-R from Pigdurt comes in a plastic pouch with printed artwork on a white mini-CD. It’s a numbered edition of 30 (I managed to score the last one), and the packaging is nice and concise. Artwork features some snowy mountains with a pink, foreboding sky in the background, a good mix of colors that’s pleasing to the eye.

First up on the 20 minute 3″ is “_Super Yank_”, a track that plays around with sound balance throughout. Starting with high-pitched squeaks and groaning electronics, Pregnant Spore consistently messes with the balance of the track, switching the sounds around from left speaker to right, creating a disorienting track full of squalls and blips of noise. This track is great to listen to with headphones, as the dizzying effect of the constant balance shifts are quite nice when listened to closely. The track makes a great transition from the opening groan into squeakier sounds, and the progression works very well throughout the five minute length.

“_Phage Display_” opens with oscillations of more buzzing electronics along with a deep droning in the background. Lots of layers to this, with almost a creepy vibe of screeching doors and malevolently chirping crickets, as though an omen of death. Again, sound balance is a factor here, as Lloyd textures that background drone with pulsating electronic shafts of noise that loop and stutter. Pregnant Spore brings the track to a close with dripping analog noise, finishing off with a higher-pitched version of the opening.

“_Magistrates_” is the longest track on Snap_Argue_Cry, and opens with an excruciating whistle that is randomly blasted by static shock. A rhythmic pattern emerges until the screams of abused electronics burst into the mix. The track is constantly shifting, a mix of furious noise shifts while maintaining the arc the track began in the opening. Rarely does Snap_Argue_Cry feel like a set of arbitrary noises; instead, each track maintains a formula, one always drenched in continually changing electronics, but a formula nonetheless. It’s a sentiment carried over all of Lloyd’s projects, one that makes them stand out from the rest. A pulsing bass buzz sputters to life until waves of static and feedback blot out all conscious thought. I love the loops of high-pitched chirrups towards the end; they torment and yet soothe the listener.

“_Pills_” has an excellent beat to it, repetitive at times and meandering at others. It sounds as though Pregnant Spore has broken out a guitar drenched in acid, as if the seriously demented electronics have changed the tone into a beeping instrument of atonal bliss. It ends with a pummeling of pulsating bass. “_Dream Contortion_” continues that same “arcade midway from Hell” experience, a terrifying trip through a deadly carnival to conclude the 3″.

And obviously, Snap_Argue_Cry is another great release from an artist who continually decides to change his sound. Though it’s only 20 minutes, there’s more than enough noise to go around, and the interesting use of sound balance on the opening half is a disorienting entrance for the listener.

Order here from Pigdurt Productions!

Dim Dusk Moving Gloom – Our Dark Lord (C60, Rainbow Bridge)

Noise, Review

Two intense, thirty-minute tracks make up Our Dark Lord, a clear-cassette C60 from Dim Dusk Moving Gloom. The release, from Rainbow Bridge, is one of the few in DDMG’s discography, although artist Justin Marc Lloyd isn’t new to the noise genre; he’s had over 20 releases under his now-dead moniker Sensible Nectar.

Side A opens with some atonal bell tones along with some interesting spoken-word vocal loops. “Oh hello” comes out in the mix a lot, as well as some sighs and groans, and the incorporation of the off-key bells makes this an eerie set of noises. DDMG keeps at the tones for a while until some electronic tones come in that exaggerate the original bells in the beginning. It reminds of a truly terrifying carnival, perhaps from the point of view of one who’s had too many spins on the carousel. Though the track drifts from the tones of the opening, DDMG brings it back and forth, from mesmerizing electronic noisebursts back to metallic bells and then out again. The track works into more mechanical territory with saw-like buzzes and a background drone that locks the listener in. And then, the bell tones eventually fade out into a darker drone that segues nicely into the B side of the cassette.

Side B has some great electronics manipulation with the emphasis on high-pitched frequency bursts. Sometimes it moves into bassy, crackling wall-ish territories, but it generally makes its way back towards those crunchy, sadomasochistic blasts of ear-piercing shrieks. Around the half-way mark, the track settles into an alarm-like shrill, complete with high-pitched stabs and frequent jagged twists until it comes to a “Roman Shower”-like squall of splitting feedback. Then, it moves into more mellowed territory with distorted vocal loops under hissy fuzz until atonal bells and more crushing fuzz kick in. Also of note is the more rhythmic aspect of this side, as it sometimes moves into vocals that are almost sing-songy in their looping. This side is definitely the harsher of the two, a sort of offering to the dark lord that Side A hinted at towards the end of its thirty-minute run, although it does maintain a lot of similar themes from Side A.

Our Dark Lord is a very enjoyable cassette featuring a lot of high-end feedback. It’s great for people who love that kind of thing (namely myself), but those who find sharp squeals a little out of their frequency range might not dig as much. However, this C60 shows off a lot of Dim Dusk Moving Gloom’s variety; though the tape never sticks to one set soundpiece for too long, a lot of restraint is shown – rather than continuously move the tracks on a never-ending set of new noises, Lloyd brings each piece back around to its overarching theme, a circular device that traps the listener into the bountiful 60 minute runtime due to the tape’s connectivity.

Have the release yourself via the artist’s download link.