Support the artists involved!
This is an artist to artist project and with our Bandcamp and Formaviva we support the artists involve. 50% of the revenue of the release goes directly to the artist and 50% goes towards hosting and recording more Domecast sessions.
Exceptionally for this session we are donating 100% of the revenue towards the National Alliance on Mental Illness – nami.org
Released June 16, 2021
Live Recording by Andrew Smith aka Jasen Loveland
Video Editing by Grégory Martoglio
Music Mastering by Andrew Smith aka Jasen Loveland
A collaboration between:
DOTS Gallery & 11001 Records
Valentin Ginies, Pit Ruge & Martin Ruge
DOMECAST #2: JASEN LOVELAND
In the loving memory of Andrew Smith aka Jasen Loveland
Who is Jasen Loveland? (In his own words)
Jasen Loveland does not exist… or perhaps more accurately, Jasen Loveland is a figment of the imagination of a Chicago-born, now Berlin-based transmedia artist who, for creative purposes, chooses to remain anonymous. The artist—henceforth referred to as Jasen Loveland—has been a soldier in the American cultural underground since the mid-1990s, clocking time at some of the most foundational events of the American rave history. It was in this acid-fueled crucible that Loveland was forged—heady & lysergic, yes, but also undeniably funky-as-hell. As we know, this golden era was short-lived, and as the budgets increased and the quality of events dipped, Loveland—along with fellow die-hards from Interdimensional Transmissions—salvaged what they could and went back to the underground, back to the bedroom studio, seemingly off the radar of mainstream culture entirely.
By the time the first Loveland recordings began to surface in the mid-2010s, most of even the most resolute collectors had forgotten about Loveland entirely. Many assumed that the records, often accompanied by disinformation or cryptic black and white collages, were the work of an already well-known artist. Regardless of their origins, the early Loveland work was greeted with near universal acclaim, that is, if you were one of those fortunate enough to get your hands on the incredibly short-run vinyl editions.
By 2018, Loveland had re-established themselves as a “go to” producer for demented, acidic workouts with tracks like their remix of Clay Wilson’s electro anthem “Osho”. When warped by the twisted mind of Jasen Loveland, Wilson’s delft and elegant original becomes the psychotic soundtrack to an intergalactic bank heist with the listener as the getaway driver. Furthermore, 2018 marked Loveland’s relocation to Berlin in search of new creative outlets and a respite from American thanato-politics.
While Loveland may have been the creation of the American rave scene, Berlin was where the artist truly found their voice and current creative trajectory. Loveland’s near constant exposure to a seemingly limitless supply of loud music (and related phenomena) ushered a near-Cambrian-level explosion of creativity, with the artist exploring entirely new sounds, aliases and personas. These personas were given a home in 2020 with the establishment of Loveland’s own imprint, INFINITE REFRACTIONS as a home for musical misfits, old friends and new collaborations. As the pandemic drags on, Loveland has redoubled their artistic efforts, expanding into areas of fashion, film and other media, leaving onlookers only to wonder what is next for this mercurial force.
Phase II: The Lone Flanger
The Lone Flanger is a new audio-visual project from the mercurial mind of artist Jasen Loveland [Interdimensional Transmissions/Acid Camp]. Dedicated to exploring the intersection of music and visual arts in the expanded dimension, the work of The Lone Flanger picks up where Loveland’s eponymous acid-based project leaves off, aspiring for a kind of transcendence that takes the listener/viewer beyond the concepts of “the rave or “club” and landing them squarely in the midst of the “ever expanding volumetric gradient of existence” to use Loveland’s words.
Deriving cosmic inspiration from the concept of the flanger effect itself, the work of TLF is an ongoing experiment in the possibility of creating a resonant bridge between frequencies, worlds and dimensions with the goal of transmitting or receiving messages from beyond. It is precisely these messages that are hinted at in the often cryptic-yet-mind-bending song titles, sounds and imagery associated with the project. For example “Target HD 140283 (The Cheetah Song)” is a reference to a star that has been identified that by all measurements is older than the observable universe—a star that calls into question our most basic understanding of our universe itself. Similarly, the work of The Lone Flanger questions, obfuscates and complexifies notions of rhythm, melody, musical genre… even our ability to rely on our senses for accurate information about the work in question. From this perspective, the work can be understood as a series of audio-visual mechanisms designed for the purpose of emancipatory hallucinogenesis—each instance of the work is its own, self-contained pico-universe that invites and entices the listener-viewer to explore what lies within.
For this session we are donating 100% of the revenue towards the National Alliance on Mental Illness – nami.org