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Old World Die Must

by The Electric Nature

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  • Record/Vinyl + Digital Album

    Vinyl LP pressed at Kindercore Vinyl in Athens, GA

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    Dark Transparent Red with Black Swirls

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  • Full Digital Discography

    Get all 47 \\NULL|ZØNE// releases available on Bandcamp and save 90%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Live in Troy, Live in Athens, Michael Potter & Friends, On and Off, Old World Die Must, Sun Drenched, Growth & Form, Return To Whatever, and 39 more. , and , .

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Buy the LP from Feeding Tube Records - feedingtuberecords.com/releases/old-world-die-must/

Guitars, Synthesizers, Drums, Percussion, Samples, Field Recordings - Michael Pierce, Michael Potter, Thom Strickland

Saxophone - Jeff Tobias on "Enter Chapel Perilous"

Clarinet, Violin - John Kiran Fernandes on "Old World Die Must"

Many thanks to Ted and Byron at Feeding Tube, Reece for the artwork, and everyone that has supported us over the years

credits

released March 31, 2023

"Enter Chapel Perilous" recorded by Michael Potter

"Old World Die Must" recorded by Thom Strickland

Mixed, edited, and mastered by Michael Potter

Vinyl lacquer cut by Carl Saff at Saff Mastering

Cover artwork by Reece Thomas Green

Co-released by Feeding Tube Records and \\NULL|ZØNE//

FTR727 | N/Z051


This is the 14th album released by this Georgia-based improv trio, but the first to come out on LP. The Electric Nature has gone through a variety of phases during its decade-plus history, but its recent work has been fairly abstract, and so it continues here.

​The basic threesome -- Michael Potter, Michael Pierce and Thom Strickland -- are not credited with individual instruments here. It is merely noted that between them they play guitars, synthesizers, drums, percussion, samples & field recordings. Additionally, Jeff Tobias plays sax on one side, and John Kiran Fernandes adds clarinet and violin to the flip.

​Those with a serious working interest in the Athens GA sub-underground will associate these names with a variety of bands: Bleachy Asshole, Future Ape Tapes, Leisure Service, Smokedog, Wet Garden, as well as a couple of labels. Tobias and Fernandes bring another host of associations, from Arthur Doyle to Frank Hurricane, so we should assume this is a crew that knows exactly what it wants, as well as how to get it.

​In this instance, what they want are two side-long squalls of sound, so good they have an almost Japanese cast to their improvisational distentions. Despite their parallel intensity, the essential natures of these sides are disparate & distinct.

​On “Enter Chapel Perilous,” field recordings give way to swampy sax blister, the sound of boots stuck in mud while spirits voices gibber in the background, and swirling horror-movie synth. These elements are twisted into a sonic fire storm that gets hotter and hotter. Eventually everyone gets spit out onto the parched sands of the Sahara. Meanwhile, on the title track, the team raises a sweetly muzzy curtain of drum splatter, amp roar and swoosh, through which curlicues of clarinet and shards of broken guitar are pushed like puppets at a Punch & Judy show.

​Anyway, that's my take. The Electric Nature surely have their own chronicle of this music. But who really cares what anyone says it sounds like. The proof is in the sonic pudding. And The Electric Nature have whipped up a very tasty batch of mystery.

​Yum. -Byron Coley, Feeding Tube Records


"Featuring two side-long tracks this album is a rollercoaster ride of noise, psych, experiments and creativity, the music emerging as swirls of abstract sound that are wonderfully pieced together forming a dense yet energetic soundscape that fills the space around it.

Featuring the talents of Michael Pierce, Michel Potter and Thom Strickland using, drums, synths, samples and field recordings, it is quite difficult to decide which is side A from the information available on the cover, however the addition of Jeff Tobias on Saxophone proves conclusive as he only appears on that side and it is his performance that elevates “Enter Chapel Perilous”, especially during the atmospheric opening, as he skronks crawls and distorts his way across a grumbling, scratchy landscape of noise. Slowly you re drawn in to the soundtrack to a foggy marshland that is brooding and tense with anticipation, cymbals and cut-up distorted vocals, glitch and menace all adding to the sound. As the track continues it deviates into free-jazz territory, at least for a while, I hope my neighbours are enjoying it as well as it is a sunny day and the door and windows are open.

As side one swirls onwards it seems to become angrier yet more distant, waves of noise, crashing in and out of range carrying us off to some inner landscape as we attempt to surf our way back to a semblance of reality only to finally allow ourselves to be swept away completely. Towards the end the drums begin to pound out, guiding us to the pathway a glimpse towards the light as it all comes crashing down in a tidal wave of primitive, noisy happiness and ecstasy (and some trudging footsteps). Music to be played loud and alone.

Flipping the record over, “Old World Must Die” sees John Kiran Fernandes add clarinet and violin to the music, the piece opening gently, reminding me of early Tangerine Dream as it slips into your consciousness, distorted noise cutting through the gentler elements of the music until it reaches an equilibrium creating a vast writhing drone that gathers momentum in its quest to cloak the universe in beautiful noise. At Times I am reminded of Hawkwind's finest sonic assaults on the senses, or the atmospheres of early German Rock, each musician submitting to the whole and I also wonder why I seem to hear guitars when none are mentioned on the sleeve. I guess, there is so much technology and equipment now that you can sound like anything you want without actually using it. However it was created, I absolutely love this record, the music taking your worries away, a walk through a primal, physical landscape that will cleanse your soul." - Simon Lewis, Terrascope


“The Electric Nature opens up a decaying house of horrors on Old World Die Must. Michael Pierce, Michael Potter, and Thom Strickland twist and turn under pressure from unseen forces, blitzing synths, field recordings, guitar scrawl, and God-only-knows. In the opening passages, sax-kingpin, Jeff Tobias, rises from the depths with metallic, resonant howls, letting the cryptic atmosphere seep from the tombs below. Once enough of the noxious gas escapes, a frenzied psychedelic freak-out takes off. Caustic drones split the ground into levitating shards pointing straight toward the grayed-out sun. Any speck of light that can pierce this roiling sonic veil gets swallowed by spiraling guitar layers and deep-fried midnight ecstasy. The Electric Nature rips everything to shreds so we can start over with a clean slate. Hell yes.” - Brad Rose, Foxy Digitalis

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