aaGoo

Emblem Album begins with backhanded techno washed in psychedelic remnants and disembodied voices, in two acts – one growing into the next, Cromis Part 1 and Cromis Part 2.
Track 3, Nanofancier, is a tightly would exercise in melodic gameboy-synth nanoloop vs polyphasic proto-birds. DeathrattleSnake, Track 4, is a swirling abyss with a lashing crisply rhythmic tail and a optigonally reconfigured heart. Pieces of cloud castles scatter into sparse patterns in Basically Chunnelled (Track 5), interstellar driving music, until they recongeal into the quick and dirty quickly-chugging ancient-battery-broken-beat adventure of Wrapped in Aw (Track 6).
This brings us the second half of the record, in which harpsichord DNA is dissolved into a pool of primordial action and shifting sands, first in Track 7, Harpsifloored, and relatedly in Track 9, Manners Melting.
A mistake is reclaimed in the minimal wilds of Goth Botch, jousting away at a deep gravity well. The final track, Track 10, Sycamore Scarab, is a delicate latticework of detached sonic worlds floating into one another, insect intelligences escaping to build an ending.

Welcome both everywhere and nowhere with open arms, Blevin Blectum‘s sounds have been released into the insides and outsides of clubs, homes, alleyways, academia, headphones, planetariums, public toilets, gargantuan galleries, plastic toys, proper and improper stages, virtual and all-to-real basements, lofts, libraries, lounges, vehicles and swamps, but ideally Emblem Album is to be listened to by emotionally-inconsistent artificially-intelligent spaceships sliding into other dimensions, played at high volume.

Blevin produces continued electronics with a more oblique slant on the basic BFB sensation of things-not-quite-right-here, clanking, creaking grooves and anti-grooves as a coal-powered spacecraft from some steampunk parallel universe potentiality, puffing and straining as it struggles to reach escape velocity, chopped, noise-reduced and timed/stretched to the breaking/boiling point, generally fucked-with samples of everything from hand-slapped rain-drenched leaves in courtship gardens and antique broken Beatnik banks to ProTooledFree classic utterly dance-able disembodied-blissful-transvestite-stand-up-comic vocals.

BLEVIN BLECTUM (born Bevin Kelley) = polyphasic avitronic wordless sonic worldbuilding, sound vision costume object spectacle. Blevin is perhaps most infamously known as one half of the recently reformed and reunited groundbreaking digital duo Blectum From Blechdom (with Kevin Blechdom / Kristin Erickson), recipients of the 2001 Ars Electronica Award of Distinction in Digital Musics for their album “The Messy Jesse Fiesta“.

In 2013 she co-founded the electroacoustic-radioplayers The Traveling Bubble Ensemble with fellow sci-fi enthusiast and sibling Kelley Polar (Michael Kelley). Left to her own devices, Blevin produces turbulent electronics with a more oblique slant on the basic BFB sensation of things-not-quite-right-here, clanking, creaking grooves and anti-grooves as a coal-powered spacecraft from some poststeampunked parallel universe potentiality, puffing and straining as it struggles to reach escape velocity, conjured and bounced to the breaking/boiling point, generally fucked-with samples of everything from hand-slapped rain-drenched leaves in celestial courtship gardens and antique broken Beatnik banks to classic, utterly dancefloored, floridly dangerous disembodied-dismembered half-remembered vocals.

She can be heard in radio plays, electronic toys, theater spaces, film/television scores, advertisements, clubs, concert halls, headphones, and galleries.

She has releases on labels including Aagoo, Estuary Ltd., Tigerbeat6, DeluxeRecs, Praemedia, Vague Terrain, and Phthalo.
In May 2014, Bevin completed her PhD in Computer Music and Multimedia from Brown University.
She holds degrees in Violin Performance and English from Oberlin Conservatory and College (B.M., B.A., 1994), and in Electronic Music and Recording Media from Mills College (M.F.A., 2009). She is also a Registered Veterinary Technician specializing in avian medicine (Western Career College, A.S., 2007). She recently received the 2014 RI Foundation MacColl Johnson Fellowship for Music Composition.

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