Since forming in 2008, The Gate, the trio made up of Dan Peck on tuba and amplifier, Tom Blanchard on electric upright bass, and Brian Osborne on percussion, have forged a unique and uncompromising aesthetic. The Gate seek to break down and confuse the conventional roles of a horn-bass-drums ensemble, revealing the most raw and elemental aspects of organized sound. Their music, dividing time between improvisation and Peck's compositions, ranges from bleak landscapes of near silence to massive, horrifying sound sculptures. With three international tours and three albums under their belt, The Gate now present Stench, their fourth studio album. Recorded by engineering wizard Colin Marston at his Thousand Caves Studio in Queens, New York, it features new friends Nate Wooley on trumpet and amplifier and Tim Dahl on electric bass. The album is in many ways a continuation of the band's gloom-jazz stylings, but Wooley's impeccable sense of extemporaneous composition and Dahl's psychedelic brand of bizarro-funk provide incomparable additions to the brooding nature of the music, making Stench the gnarliest and blackest experience yet from The Gate. High-quality heavy vinyl housed in an open screen printed sleeve on heavy stock. Edition of 300.
Since forming in 2008, The Gate, the trio made up of Dan Peck on tuba and amplifier, Tom Blanchard on electric upright bass, and Brian Osborne on percussion, have forged a unique and uncompromising aesthetic. The Gate seek to break down and confuse the conventional roles of a horn-bass-drums ensemble, revealing the most raw and elemental aspects of organized sound. Their music, dividing time between improvisation and Peck's compositions, ranges from bleak landscapes of near silence to massive, horrifying sound sculptures. With three international tours and three albums under their belt, The Gate now present Stench, their fourth studio album. Recorded by engineering wizard Colin Marston at his Thousand Caves Studio in Queens, New York, it features new friends Nate Wooley on trumpet and amplifier and Tim Dahl on electric bass. The album is in many ways a continuation of the band's gloom-jazz stylings, but Wooley's impeccable sense of extemporaneous composition and Dahl's psychedelic brand of bizarro-funk provide incomparable additions to the brooding nature of the music, making Stench the gnarliest and blackest experience yet from The Gate. High-quality heavy vinyl housed in an open screen printed sleeve on heavy stock. Edition of 300.
