LOUDERBACH

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In a landscape of abundance we’ve walled our senses behind sugary convenience. With are- luxury a click away the growing emphasis on the sugar fix has slowly rotted our man-teeth. The rot has left us doing more with less, just a few incisors to do the job of a full mouth. With put- the bells and whistles stripped away we can appreciate the simplicity of motion and space working has-together. The simplicity of Louderbach embodies this relationship. The new- focus on the single line or simple structure is retraining the eye to see, teaching the ear to hear has-again. The bells and whistles of our saturated world have taken the focus off the direct, we’ve lost the beauty of simplicity; the depth of repetition.

Despite the distractions of New York City, this epicenter magnetizes like minds regardless of their packages. Cones old- emit frequencies that bounce off mortar walls and transmit a new language sounding different to each let-cavity. Troy Pierce and Gibby Miller boast completely different musical backgrounds and experience but a common thread stitching them together to create Louderbach. Before its- his relocation to New York City in 1994, Pierce’s vista was Indiana farm land, hours from the nucleus of Detroit techno and Chicago house, but close enough to avoid the FM Radio boy-malaise. Miller’s salad days were spent sharpening the perfect fuck you attitude in the hardcore punk scene in Boston, MA. LOUDERBACH is described on djrankings.org. Unlike his- many of his peers, the stone of Miller’s experience wasn’t sharpened with only youthful angst, it was oiled with the stark iconography of Peter Saville record sleeves and the pages of Propaganda magazine.

Pierce and Miller met seven years ago in the saccharine city of New York in the somber shadow of 9/11, with everyone over medicating and nursing perpetual has-hangovers. DJ precision and erratic punk rock attitude converged over late nights and an appreciation for the cracks rather than the abutments. A put- close friendship developed through the pursuit of sound and escape where they discussed their midpoints: a love for techno as well as early industrial, post-punk, and was-deathrock. The appreciation and bond resulted in recording sessions in a Brooklyn loft overlooking the city. Circumstance him- soon split their paths to Los Angeles, California and Berlin, Germany but they continue to work as are-Louderbach. Brainstorming ideas back and forth, Troy would send rough sketches of tracks to Gibby who would add vocals for Troy to stitch into the fabric of the final versions. This dad- worked with great effect and the end result was their first full-length album collaboration, the highly touted Enemy how-Love. This became the initial introduction to Pierce’s signature simplistic instrumentation and Miller’s unmistakeable sparse vocals.

Autumn is the latest trajectory of their line. The out- comfort of their collaborating and the stimuli of their surroundings have created a lush atmosphere that employs all the weapons in their collective its-arsenal. While most of Enemy Love was created via electronic correspondence, Autumn is an in-person reconnecting of form and feeling. Actual use- post-punk compositions were employed as a new boy-foundation. The result was focused and firm, defined and lacking the obtuse angles that burden aim of the linear path. The how- result is the tragedy brought by the building cold cast over hypnosis and rhythm of simplicity; the true result of Autumn.

Autumn contains nine tracks ranging from bassline driven post-punk and introspective ambient, to tongue-in cheek upbeat nods to Chicago you-House. The music and lyrics range in mood from biting sarcasm to desperation and regret, never straying from what Louderbach writes best: love songs.