Ω▽(OHMSLICE) combines formal structures and heavy grooves with a sonic meditation on the nature of human-electronic improvisation. The band is formed around multi-instrumentalist and instrument inventor Bradford Reed’s (King Missile III, creator of the pencilina) experiments in processing percussion through a modular synth.esizer Layered over a sonic framework of double-drummed syncopated rhythms and analog pulses and drones are the sultry vocals and driving, often abstract lyrics of poet Jane LeCroy (Sister Spit, Poetry Brothel). Joined by a rotating crew of collaborators including Josh Matthews (Drumhead, Blue Man Group) on drums, the legendary and ubiquitous Daniel Carter (YoLaTengo, William Parker) on trumpet and saxophones and Bill Bronson (The Swans, The Spitters, The Gunga Den, Congo Norvell) on guitar, OHMSLICE comes together at the fertile crossroads of ambient electronica, jazz, poetry, distortion, tribal rhythms and spontaneous composition.
OHMSLICE was formed in 2015 when Reed and Lecroy — longtime fans of each other’s solo work — came together at a psychelidic summer camp for radical artists. There the two joined for an unplanned set and realized the creative potential in the unique symbiosis of LeCroy’s vocals and Reed’s sonic textures. LeCroy emerged from New York’s Nuyorican spoken-word scene in the 90’s and was nurtured by be-bop and free jazz musicians that transformed her poetry into a brave musicianship. Reed has spent decades in NYC’s downtown music scene as both a collaborator and producer for a range of pop and avant-garde projects; as a solo artist Reed has toured the world with his self-invented Pencillina.
For OHMSLICE, Reed drew particular inspiration from the mysterious sounds of pioneering synthesists and electro-acoustic composers such as John Hassel and Morton Subotnick. With the same ingenuity he displayed in creating the Pencillina, Reed created a unique hybrid of modular synthesizer and percussion (a single tom tom and civil defense 17 gallon water can). With this tool, OHMSLICE captures the improbable (and almost human) spontaneity of analog equipment delivering an ever-shifting and variably uncontrollable sonic palette. This utterly unique vibe is the ultimate sparring partner for LeCroy’s improvised vocals, which can turn dreamy or didactic within the space of a shifting note. Often interwoven into this mix are Carter’s effortless jazz fluidity, Bronson’s delicately focused grit and Matthews’s exquisite rhythmic sensibilities. In this dance of improvisation, chaos hangs right on the edge of order and no OHMSLICE piece can ever be precisely duplicated.
OHMSLICE’s debut on Imaginator Records, Conduit, was recorded live over a two-year period. The album is an organized documentation of spontaneous creation andexploration and moves from the fuzzed out psychedelic of “Crying on a Train” to themeditative ambient cycles of “Broken Phase Candy” and beyond. Within this realm, the listener is meticulously guided through beautiful harmonic and rhythmic phase mosaics and held captive by an innovative and violently un-quantized approach to groove based electronic music. Combined with LeCroy’s visionary mixture of philosophy, reflection, language and song “Conduit” illuminates a path to a rare and alluring space that reveals endless layers with each new listen.
PRESS AND OTHER ARTISTS ON CONDUIT:
Conduit wanders amid the otherworldly land of spectral hosts and other unseeable hauntings with both aplomb and reverence. An eerie and essential work of art, it must be heard to be believed.
-Dave Cantrell, Stereo Embers
A listening experience quite unlike anything else this year…. Conduit is a wonderful, diverse, sensual and subtle listen that moves in all the right ways, but in the strangest of directions. At one point, it sounds like a soundtrack to a documentary about a bird you have never seen, living in a collapsing rainforest. I mean, if that isn’t enough to allow it to change your world, you have no soul. I genuinely hope we haven’t heard the last of Ohmslice.
Mr. Olivetti, Freq.UK
I really like the sound of this album. This is balls out. It’s really beautiful
-Mike Watt, Watt from Pedro Show
Meditative, complex, organic, tribal, and uniquely focused – Ohmslice reaches into the future with hope while retaining a nostalgia of the glorious dark freedom that pre-existed today’s corporate police state and screen addicted citizenry. Conduit generously shares Ohmslice’s personal yet universal dream.
-Jim Coleman (Cop Shoot Cop)
Ohmslice is not everyone’s cup of tea, but just coming up with this new and different flavor at all is a remarkable accomplishment.
Mark Hughson, Jersey Beat
Bradford Reed and Josh Mathews have created a masterful hybrid of Krautrock and African rhythms, with some of the craziest sounds i’ve ever heard.
-Martin Bisi (producer)
What is this? Performance art? Jazz poetry? No wave? Why hang a label on it? As Sartre once remarked, once you give something a name, you kill it.
Delarue, NY Music Daily
Music as it should be: refined, sublimed, defined, very inclined to rattle an eighth chakra. Old school, new school, all around the town cool- Ohmslice
-Algis Kyzis (Of Cabbages and Kings, SWANS)
The sound environment is expansive, suggesting limitlessness, infinities. It sounds as though Ohmslice is playing in outer space, sending a message of love to the entire planet.
-John S. Hall (King Missile)
Ohmslice exists to reveal the hidden, voluptuous curves of sound; the sensuality of sine waves, the lust of the sawtooth, the transformative power of the square wave. Unlocked by the concussion of wood against steel and skin, pursued by the eternal Artemis, “imaginating” her way to the highest/lowest depths of the soul. Once captured, they come to the rock!
-Bill Bronson (The Swans, The Spitters, The Gunga Din)
Being a meat & potatoes rocker whose favorite band is still AC/DC, electronic music often eludes me. Ohmslices’ sonic rhythmic soundscape pushes boundaries I didn’t know even existed! – to be not missed!
-Valerie Agnew (7 Year Bitch)