8Sided Blog

a zine about sound, culture, and the punk rock dream

San Mateo: A Layer of Hiss

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As San Mateo, Matthew Naquin makes the music of nostalgia, dreams, and expanding subterranean root networks. San Mateo’s latest album — Exspiravit Luminaria — features a digitalized tree in its cover art, eerily suspended with its roots hanging like tendrils. The image is a handy approximation of Matthew’s sound and modus operandi. Exspiravit Luminaria‘s music is steeped in earthiness but also exists outside the soil, floating calmly in an unnatural digitalness. 

I’ve wanted to have this conversation for a while. For the past few years, my fledgling imprint 8D Industries has helped to release San Mateo’s steady and always compelling output. In email exchanges with Matthew, he’s given hints about his process. There’s usually mention of self-imposed constraints, of limiting the music-making tools he has access to, and how each new album has an intentional difference from the previous one. Matthew was immediately on my mind as an interview candidate for this blog’s series of conversations about the artistic process. I’m glad to present our chat to you today.

Surprisingly (or maybe not), our exchange is full of laughs. Matthew shares my curiosity about the creative process and the philosophical question of how art works. Of course, it’s hard to talk about those things without a sense of humor. Other topics include dealing with past releases we no longer enjoy listening to, imagining sequenced music as played by ‘live’ musicians, why playlists suck (or not), the benefit of enforcing constraints, and, as excerpted below, the younger generation’s unexplained embrace of tape hiss.

You can listen to the entire conversation in the audio player. Enjoy! (Also, I apologize that my voice in the audio is a bit crunchy. Editing this inspired me to purchase a new, better microphone.)

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MD: So, some years ago, I found myself buying a sound set of various tape hisses.

MN: I’ve actually got a whole file folder of tape hiss that I’ve created. I bought stuff like that before I started making my own.

MD: Yeah, as I’m buying this thing, I’m thinking: the 18-year-old version of me is screaming right now. He has no idea what I’m doing, wanting to actually add tape hiss. Back then, I literally was losing sleep over tape hiss when I was recording, I could not figure out how to get a good sound without losing my high end, unintentionally adding tape hiss, and everything going crazy. 

MN: It’s amazing. Thirty years ago, everybody searched for sonic purity, and now it’s quite the opposite. Like you were saying, your 18-year-old self would be like, “You’ve got this perfect DAW that records at 24 or 48 bits. And now you’re adding hiss back in.” 

MD: I also have these plugins that add hiss. I mean, they’re great. They sound amazing, but it’s just hilarious to me. And I use them. I love ’em, and I use ’em. But it’s so funny how that thing has come around. Why is that attractive, do you think?

MN: I think there’s something about that, the organicness of it. I was actually pondering this the other day as I was feeding noise into my signal chain. In fact, I’m working on a track where I have an emulation plugin running in the background, adding hiss. There’s no sound actually being fed into it. I’ve just got the tape function turned on to feed a layer of hiss into the signal itself. And I was thinking about that while toggling it back and forth, on and off. And yes, it’s digital, it’s fake tape — whatever. But it opens up the mix in a way that it’s hard to define. It’s almost like a gut feeling or something instinctual, where it adds some of this organic layer to things. When it’s dry, you just can’t hear anything like that. Also, one of the things I like to do is stick a mic out my window and just record that. That’s it. I think I did this on Sonnet Ring and Deepstaria — there’s an underlying microphone feed running through the whole album on both of those. You might not be able to hear it or any street noise or anything like that, but it’s the same with adding tape hiss. It puts you there, somehow or another. It puts you in the room in a way that I think a sterile digital environment doesn’t allow. I don’t know; I’m just spitballing here. As I said, I was thinking about it just yesterday, how noise adds character that opens up the mix in a way that isn’t there when it’s turned off. It doesn’t feel as good, you know?

MD: Do you think this effect is emotional, like an emotional reaction or a nostalgic reaction?

MN: It could be, but then it’s very popular with this current generation, and they wouldn’t have grown up on that. I mean, I understand with vaporwave or something like that. That genre taps into more guttural, nostalgic things. But tape noise — I can’t imagine that many people in the younger generation into lo-fi music heard tape noise growing up. Maybe they did?

MD: I don’t know. It’s like that phenomenon that was around for a minute of music that sounds like it’s in an empty mall.

MN: Oh, yeah! 

MD: There was a New Yorker article about the phenomenon and how a lot of the people creating these YouTube channels are too young to have actually experienced a mall in its heyday.

MN: I wonder if there’s something that gets ingrained generationally. If your parents experienced the empty mall, there’s something in your genes somehow, that nostalgia or that emotion that gets passed down. (pauses and laughs) Probably not. But, yeah, they’ve never experienced this. They’ve never experienced tape. So why is it popular right now? What are they nostalgic for?

MD: And even adding crackle and vinyl record noise to digital songs. There’s an instrumental hip-hop label I do some work with, and half of their catalog is like that. The artists, who are all very young, add vinyl noise to their digital productions. It’s funny to me, but it’s also cool. But I do feel there is a sort of emotional, nostalgic appeal to tape hiss. I do think that because tape hiss won’t work on everything. And if you remove it from certain songs, your emotional feeling from those songs will be different.

MN: I mean, Boards of Canada created a career on it, right?

MD: But that’s where it’s almost like it’s being passed down. Boards of Canada are a great example because they obviously grew up with tapes and weird educational films and things that had sonic deficiencies in them. They added these defects to their music, which may have been because of an emotional feeling it gave them. This feeling then attached itself to their listeners. And then suddenly, you have new listeners who may not have experienced the original sources but still catching on to the feeling that, say, Boards of Canada originally felt. It’s almost like this cycle of audio nostalgia.

MN: Well, I mean, look at Stranger Things. I’m sure the bulk of its audience is probably people that didn’t grow up in the eighties. Well, I’m not positive, but I would bet that’s the case. The show’s very popular with a younger generation. And then the sound of Stranger Things, the synth lines and production, and all that stuff. There are kids that have never heard that. But it’s the whole intent of Stranger Things; to hit a nostalgic bone, right? It’s supposed to have an eighties ‘feel.’ So, yeah, maybe it is generationally apparent to a child. This makes me curious about what sounds will get used 40 years from now. What’s that going to be? Will producers still use tape hiss and vinyl crackle? I mean, when we’re that far out, will it be something else?

MD: That’s interesting. But it’s interesting, too, when you think about how trends come around. Something that’s really scary to think about for anyone our age is Stranger Things is basically to now as Happy Days was to us in the eighties. 

MN: I haven’t thought of it that way, but yeah, that’s … (shudders)

MD: I mean, as far as the era that was being depicted and the music that was in it. But it seems like the eighties look and sounds have more perseverance then, say, beyond bands like the Stray Cats as an example of fifties music emulated in the eighties. So I don’t know; it almost feels like there’s something else going on …

MN: And then there was that weird swing revival in the nineties.

MD: Which we don’t need to talk about. (much nervous laughter)

→ Exspiravit Luminaria, San Mateo’s latest album, is available now on Bandcamp and all the streaming places.

Colorfully Aligned

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I was pretty excited to see Chrome featured on Bandcamp Daily. The piece is an excellent overview of the pioneering San Francisco duo, revealing more than a few tidbits I didn’t know. The article is understandably from guitarist Helios Creed‘s perspective (as band partner Damon Edge passed a couple of decades back), and he takes a lot of credit. But there is something to be said about Creed’s spiraling guitar lines and bizarro feedback treatments, sounding like nothing else in the late ’70s — someone that ahead of time was likely the main driver pushing Chrome to the, uh, edge.

Chrome has sadly remained under the radar even though their influence is apparent throughout the last forty years of the freaky-deeky side of rock n’ roll. For example, the Butthole Surfers definitely got their hands on a Chrome album or two in their formative days.

I initially found Chrome in my mid-teens through the “New Age” video (probably seen via Night Flight). I was always on the hunt for weird shit™ to help me escape the confines of life in Central Louisiana, and “New Age” fit the bill. The song — and Chrome’s output at the time — was a remarkable portent. It signaled many things on the horizon, both sonically and culturally. Check the cyberpunk current running through the “New Age” video, which also pays homage to A Clockwork Orange and THX 1138.

Chrome - New Age

Around the time I discovered Chrome, I also encountered Cabaret Voltaire’s Red Mecca. That’s not too far off of a connection — Chrome were, in a way, the American Cabaret Voltaire when one looks at their respective experiments recorded in the late ’70s and early ’80s. And as many accept Red Mecca as a dark reflection on England’s Thatcher years, Chrome’s 1980 album Red Exposure (colorfully aligned!) could be seen as a similar reaction to the national mood that brought the US into the Reagan era.

And listen to Cabaret Voltaire’s “Landslide,” taken off Red Mecca. My favorite DJ in the world will be the one who sublimely mixes this with “New Age” in the middle of a packed-out ’80s night somewhere.

Cabaret Voltaire

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I’m torn. YouTube is a repository of things otherwise impossible-to-find or out-of-print. It’s the only public place where you can hear Kraftwerk’s disowned early albums or watch Keith Levene abuse a Prophet-5 as PIL runs through “Careening.” These things are on YouTube because of fans and super-fans, noting a cultural absence and taking matters into their own hands. But no one’s getting paid, except for YouTube. And maybe also the uploader who unscrupulously turns on the monetization of a vintage work that’s not theirs.1The Chrome and Cabaret Voltaire videos above were uploaded respectively by Helios Creed and Mute Records, so they are welcome to monetize to their hearts’ content. That’s why I’m torn.

But discoveries like The Black Tower make YouTube seem all right. The enigmatically but actually named John Smith is a British avant-garde filmmaker whose work escaped me until I randomly peeped an exchange about The Black Tower on the Twitter machine. From what I’ve recently seen, Smith’s work is minimal but compelling, weaving stories and visual play from things noticed in his immediate surroundings. For instance, the 1975 short film Leading Light looks entirely shot in his bedroom.2Sharp eyes might spot The Velvet Underground. This article in Senses of Cinema digs further into Smith’s ‘familiar-but-unfamiliar’ approach.

The Black Tower is a 23-minute film released by Smith in 1987. The super-fan uploader didn’t monetize this, which is nice — The Black Tower is the sort of thing that should remain free of ads; otherwise, its spell is broken. “Architectural horror” is an intriguing phrase I saw to describe the film. For me, The Black Tower is like a campfire ghost story, except it’s told next to a darkened chip shop in a disused city alleyway instead of a campfire. 

John Smith's The Black Tower

The Black Tower mainly comprises of stationary shots of nothingness and near-nothingness, but this is gripping stuff. And inspiring, too — don’t let anyone tell you lack of budget and gear constrain triumphant acts of creativity. Just get that Black Tower out of your head.

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I often wonder why more artists don’t exploit that a Bandcamp download can contain more than just audio files and an album cover. There’s an opportunity to expand an album, to add GIFs and short movies, PDF booklets, and collections of images. Surprise the listener with digital esoterica, revealed only upon purchase and download.

The concept’s potential is a natural fit for Puremagnetik. This small company is developing unique audio plug-ins for creators while manning an active experimental label on Bandcamp. Ambient explorer Taylor Deupree has released Small Winters through the label, and something new from Taylor is a cause for celebration on its own. Taylor is a longtime master of the is-it-broken-or-intentional style of soundscape as he loops warm tones over crackles and randomly conjured defects. The sources for these tones are often something other than synthesized — on Small Winters, you’ll find a glockenspiel. If you’re into this flavor, Taylor doesn’t disappoint. I’m a fan.

But there’s more in store for those who download Taylor’s latest. The album’s title, Small Winters, is also the name of a DAW plug-in designed by Puremagnetik’s Micah Frank with prodding from Taylor. “Taylor suggested that a custom device might be an interesting way to constrain the album’s sonic palette,” says Frank. “We bounced some ideas back and forth and came up with this concept of a broken Tascam 4-track from the future.” Purchase this release on Bandcamp, and you’ll find a text file bundled with the tracks outlining instructions for downloading the plug-in.

The album prominently utilizes the plug-in throughout, most notably on “Long Winter,” which treats the glockenspiel with percolating layers of static-tinged stereo-enhanced repetition. The result is beautiful; the hard attack of the ‘spiel is softened by reversed effects, low-end ghost notes, and a healthy dollop of artificial tape hiss. An ARP 2600 eventually joins in with hints of a glimmering, subdued melody.

“Long Winter” is followed by a series of shorter tracks with uncapitalized titles like “air” and “tea.” After the set’s preceding magnum opus, these might come off more like mere demonstrations of the included plug-in if the cuts didn’t fit snuggly within Taylor’s body of work. I know Taylor and Small Winters don’t rely on a plug-in for beautiful, melancholic atmospheres. But I can’t tell if this plug-in requires Taylor to come close Small Winter‘s remarkable sound. I’ll have to play with the included plug-in and figure that out for myself.