"There Is No Wall No Nothing is Mystified’s second appearance on CerebralAudio. His first appearance was back in July on Into The Rift: Volume One. However, comparison’s between the two tracks would not be
valuable. Thomas has the habit of being able to find completely different sounds and structures, even when he is exploring similar source materials and techniques for working with them".
"There Is No Wall No Nothing might be a continuation of his exploration of using 78 rpm and Cylinder recordings as source material. However, this work does not have the mechanical grinding sounds present in the
previous work. Instead these sounds are placed well into the background, the basis for the drone element of this work without drowning out the other elements."
"The intriguing element to this release is the voice: it’s distorted and manipulated to the point of sounding either alien or bug-like. Hearing it set against the cavernous drone sound makes one think that we are in some kind of prehistoric era, listening to the formation of life itself."
"And with those elements only scratch the surface of this work. There are all sorts of hidden suprises and subtleties throughout this piece that will give your mind a lot to chew on."-- Cerebral Audio, 2016
Following the success of "Particular Streams Remixes 1" and "Particular Streams Remixes 2", Thomas wanted to go another round, and created an open call for remixes using only material from his "Particular Streams" release. These sounds were collected one summer in a low-rent South Side Saint Louis apartment. Thomas feels the sounds are very generative and evocative of living in that place at that time. He is very pleased with the remixes he received for this round and grateful to the artists who participated.
Remixes are by artists:
1. Acid Discharge
2. Ars Sonor
7. Jack Hertz
8. Joel Bisson
9. les horribles travailleurs
11. Mean Flow, and
When I listened to industrial music back in the '90's, there were lots of guitars, movie samples, and drum machines. Lately, I've been wanting to come back to industrial music, but without the rock and roll elements-- by using actual machine, phonographic, radio and similar sounds recorded in an urban or industrial setting. If anything, it's an outgrowth of, say, Neubauten or Test Department, but is more atmospheric than aggro-- a music that uses field sounds to connote the artificial brutality of modern cities: