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Improvised and recorded by Levi at home, April–September 2025. Mastered by Andrew Weathers. Cover photo: Pacific Bobtail Squid (Rossia pacifica) by Bill Horist, Salish Sea, 2024.
Thank you: Meghan and Rowan, Eric Acosta, Bill Horist, Leanna Keith, Kate Olson, Scott Schaffer.
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Most of this was recorded during February of 2026.
Some of these songs were partially written way back when: “Unchained World” in 2006, “World of Ruin” circa 2012, and “I’m a Raging Turmoil” during 2014.
All songs written and recorded by Dylan Houser.
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Part of the practice of making music involves arriving at and maintaining a sort of coherence and continuity – a heuristic that defines personal rules and parameters, however loosely. These parameters can always be pushed outwards or arbitrarily compressed, but the shape of things needs to make sense, over shorter and longer spans of time and collections of work.
Missals represents something of a suspension of my own rules; it has its own internal language, although it exists in a dialogue with the other records.
There are some obvious entries in the lexicon – some technical, some iconographic. Every track uses my Dynacord tape echo; the overall shape of the record is a cycle; influences are left as pure colours, rather than elided and absorbed.
It is a (rather compact) concept album, in short, and a way both to get some musical ideas off my chest and to kick some of my personal parameters outward a little. Its conceit allows me to take the devotional aspects that seemed to emerge on The Vallum and push them as far as I can within my own worldview.
Missals is presented with heartfelt thanks to Kris Boyle for his extraordinary accompanying video works, and to LADYfingers for their beautiful artwork. Both of these feature in the attached digital booklet.
The opening track, Morning Portal, first appeared on the compilation One More Tune, and is dedicated to the memory of Keith McIvor.
Label Description: guitar noises about UFOs
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IMPORTANT INFORMATION !
since Bandcamp is forcing us to use ‘Stripe’ (wich involves massive, mandatory and uncontrolled data collection and implicit support to american far right) all my music is now free !
I ask you to support my work by using my Ko-Fi account :
ko-fi.com/aeon_music
NO $ FOR THE PIGS !
thanks.
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see also : aeon7.bandcamp.com/album/distant-i
this album is a transatlantic collab with the talented multi-instrumentalist Alex Gaylon, who has experimented with several bands ranging from noise to jazz.
aeon :
‘after the rich experience of Alex’s guitar improvisations on “Distant I,” I felt the need to rework certain parts in my own ‘style’.
not to please my ego but to tell in more detail the story of this space castaway who slowly loses his mind.
in these troubled times I guess everyone can relate to it and maybe find some peace with our music.’
to enjoy the best experience, please use decent headphones, at high volume 🙂
we know that times are tough for many of you.
so we decided to set the price of this release to ‘pay what you want’ (or can).
for those who wonder what price is ‘fair’ the answer is $8 ($1 per track or 4 minutes). of course, any contribution, big or small, will still be greatly appreciated (remember that $1 is about 300 streams).
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This piece deals with reflected images, sounds and ideas and the perceptions thereof and how they echo
and compliment their real-life counterpoints.
The album consists of two tracks, each with compositional direction from the same score but in opposite
directions. These two tracks were then blended together, one forwards and one backwards for each
side, to create the two finished halves. The results are sounds occurring together moving forward while
their reflected sounds move backwards.
Reid Karris is an improvisor, composer and experimentalist residing in the Chicagoland area. He primarily
uses prepared guitars to explore sound creation and manipulation centering on extended and invented
techniques. Other than performing solo he regularly plays with his group Snek Trio and in various
settings with other musicians on prepared guitar, percussion, skatchboxes and homemade instruments.
As a solo artist he releases albums of conceptual composition using elements such as guitars,
percussion, manipulated field recordings and noise. He has released albums on Lurker Bias, Orb Tapes,
Ramble Records, Mother Brain Records, Pan Y Rosas Discos, and other independent experimental labels.
Label Description: Solitary, minimal and otherworldly guitar vignettes, recorded during nighttime/AM sessions throughout 1997, subsequently shelved and eventually forgotten over time due to other commitments. Recently unearthed, and mastered by JKB in 2025.
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This is a particularly slow performance. I’d gone into it somewhat sleep-deprived, though by the third and fourth pieces, I was getting energy back from the music, enough energy to leave more space and allow the rests to speak. Thank you to the audience for staying with me.
The hollowbody Univox vibrates quite a lot–there’s a lot of air in there. Consequently, there’s a lot of air in these timbres: French horn, muted trumpet, accordion, glass harmonica timbres. This one’s a step toward a collaboration with silence.
The titles this week are references to the visual art of Louise Blyton. Thank you for listening!
Maurice Rickard: Guitar, programming
Signal chain: Univox Coily in Bb F Bb F Bb C tuning > Reuss Effects Understate, Reuss Effects Repeater Fuzz, Balls Effects KWB > Vox Wah > Hungry Robot Wardenclyffe Deluxe > Moyo Volume > Max/MSP eight-delay patch with FFT pitch shift, tremolo, convolution reverb, AudioThing Reels.
Impulses: Inchindown Oil Tanks ( Matt Gray mattg.co.uk ), silent5 Biamp MR/140 (Flat), St. Paul’s Huddersfield (near), Fort Worden Cistern
Music For The Rest Of Us 