Rabit

Rabit

Toe In The Bardo Pond EP

Halcyon Veil

“Toe In The Bardo Pond’ is Rabit’s remix extension of his Jodorowsky-inspired ‘Life After Death’ album  Peering thru the Halcyon Veil into vast, imaginative, psychedelic dimensions, Rabit further projects the experimental designs of ‘Life After Death’ to suggest and invoke surreal non-places and sites of metaphysical investigation. While it’s not made explicit anywhere, it’s possible to gauge the influence of DMT and its putative effects inside the ‘Toe In The Bardo Pond EP’, who title likely refers as much to the Tibetan Book of the Dead as the US psych band who also borrowed it for their name. Heck, the EP length is even the same as most DMT trips. In this context, rabbit supposes a fractured, fractal trip in 5 stages, emerging with the digitised exhalation and surprisingly lush revelations of ‘Rebirth (Smoked Out)’, and un/furling inward/outward thru the origami fractals of ‘Rebirth II’, the screwed sensuality of ‘Rebirth 33’, and the percussive tumult of ‘Rebirth 4’, to culminate in the serene ambiguity of ‘Rebirth 5 (Voidness)’.”—Boomkat

Rabit

Life After Death

Halcyon Veil

“Rabit presents “Life After Death,” his third full-length album. The album was recorded in home studios in Houston, Texas and Paris, France, and is the culmination of two years’ worth of experiments in various forms of synthesis.  Like last year's “Les Fleurs Du Mal,” the new album marks a further advancement in the development of his own distinct musical language. Realized through genre-free expressions that pull inspiration from Surrealist art to DJ Screw, Enigma, and Japanese Ambient artists like Hiroshi Yoshimura, the album has an exploratory, transcendental core. The project's artwork - a cut up mandala– can be seen as a reflection of the artist's kaleidoscopic approach to this pivotal new album. This is a transformative moment not only for the creator but for the listener as well. The idea that genres have become a noose is clear upon the first listen – Rabit notes “the probing and revisiting of genres in electronic music felt fetishistic and limiting and wasn’t the best way for me to communicate.” Instead, his approach reflects a wider, broader sound field – these aren’t simply tracks, they are sonic worlds of feeling to bathe in. Rabit adds, “Exploring sound is alchemy if you want it to be, but I would be wary to explain these aspects of my work because there’s a raw understated quality to the record that I want to respect. I think the occult term is interesting because I don’t hear this explored in music in ways that I find relevant....

Rabit

Les Fleurs Du Mal

Halcyon Veil

Les Fleurs Dul Mal is the absorbingly grotesque sophomore album by pioneering artist, DJ and label owner Eric C. Burton aka Rabit, who, along with regular collaborators such as Chino Amobi (NON) and Elysia Crampton, is in part responsible for defining the contemporary conflux of avant club, folk and noise musics.   On his solo follow-up to Communion [Tri Angle, 2015], Rabit indulges his fascinations with psychedelic themes in an ambitious attempt to locate his sense of self amid increasingly chaotic environments. The result is a personal milestone for the artist; a riveting tableaux of hyper sensual texture, colour and melody forming a densely detailed and layered prism to best peer upon the abyss between reality and our shared hallucinations.  Mantled in reference to Baudelaire’s classic volume of poetry on decadence and eroticism, Rabit presents a metaphorical arena or “spielraum” - described by author Frances S. Connelly as “a vehicle for mediating the ever-collapsing boundaries of the unknown” - opening an im/possible noumenal no-man’s-land where his imagination can express itself unimpeded, without judgement.  In aesthetic and intent, Rabit boldly embraces the vacuum left by the late, great Coil; realising a genre-agnostic consolidation of folk, new age, drone and noise tropes transcended thru acousmatic processing and modular synthesis, in this case fittingly provided by erstwhile Coil member Drew McDowell. In the process he potentially triangulates Les Fleurs Dul Mal with records by fellow Coil fiends, Elysia Crampton’s Demon City and Chino Amobi’s Paradiso, who all essentially project bold,...