Atomic Ape

Atomic Ape

Rampage

Web Of Mimicry

Following the release of their debut full-length album, "Swarm," Atomic Ape is back on the warpath, unleashing a new pair of singles via the Rampage seven-inch. Featuring another all-star cast of players—including Tim Young, Devin Hoff, Joe Doria, Mike Stone, Steve Moore, Danny Frankel, and many more—the two new tracks showcase different skillsets of a dynamic troop. “Rampage” is a jumping number that immediately hooks with bombast, surf overtones, and spy-movie motifs, filtered through the lens of a modern jazz-rock group. Howling horns, swinging bass lines, and swanky organ solos steal the show, leading an infectious assault of the eardrums. On side B, “Shadow Valse” reveals a softer side—a harmonically rich, densely layered mix of instrumentation and percussion. It soothes before building an undeniable energy, full of unforced improvisations and a deft sense of melody, rhythm, and groove.

Atomic Ape

Swarm

Web Of Mimicry

Here’s some good news for fans of meticulously crafted instrumental music and records with major production efforts behind them: The Mimicry recordings artists formerly known as Orange Tulip Conspiracy have returned with a new lineup, a new sound, a new name, and most exciting of all, a new album called Swarm.  The now-LA-based Atomic Ape is still led by Jason Schimmel (Estradasphere), who has been honing this work at studios in Seattle, San Francisco and his formidable commercial space in LA, The Bunker. It took over four years to complete the album—possibly the result of contracting some time-dilating virus when playing bass in Secret Chiefs 3 (rumors of him working on some of these tunes as far back as 2008 have been circulated). Also there’s the cast of 25 musicians involved beyond the core live band, among them Mimicry-familiar names like Trey Spruance, Eyvind Kang, Tim Young, Devin Hoff, Jessika Kenney, Dave Abramson, Timb Harris, Steve Moore and other heavy luminaries like Joe Doria, Danny Frankel and Mike Stone.  With an eye toward doing things the hard-but-right way, Swarm was mixed to 1/2-inch tape using only analog outboard equipment (this last step manned by the eminently capable Justin Phelps). It’s details like this—above and beyond the usual high levels of care and consideration—that make the record’s surf-drenched alternate universe of lost TV-land cop show soundtracks with 80 billion styles of music actually work—brilliantly.  Mimicry is proud to offer records like this one—self-produced obsessions that go beyond the...