Henry Sachs explores a solitary, nocturnal path on his free-flying new album Aron’s Owls — showcasing today on Tinnitist.
Written, performed, sung, produced and engineered by Washington state home recorder, outsider artist and pseudonym collector Sachs — whose previous musical projects include Galvn and Cass Avier — Aron’s Owls prowls a fertile, art-damaged soundscape that encompasses a wealth of cross-bred genres and anything-goes approaches that ignore any and all stylistic and structural borders.
Over the course of nine songs and roughly 35 minutes, the album surveys a varied expanse of a pop-fueled discord, incorporating elements of left-field indie rock, experimental electronic music, ambient noise and scorched-sugar psyche-pop melodies — all acid-washed, put through the wringer and then hung out to dry overnight under a dusty industrial haze.
To put it another way: It can be hard to put your finger on the atmosphere that inhabits Aron’s Owls — and equally hard to escape once you venture into its world of claustrophobic sonics. In fact, claustrophonic might be the most fitting word to describe Sachs’ sound.
Most of these songs were born of the transient environment that is North Seattle’s Aurora Avenue, conceived and realized in the dead of twilight and powered by late-night pizza, Sachs confesses. More importantly, they’re also fuelled by his liberally maximalist approach to genre, technique and songcraft. Seeking new routes to capture a feeling, he is often found back in the bedroom studio working on his latest mix.
Aron’s Owls was mastered by Montreal’s own Angus Vedder at the Trebas Institute. Listen to it below and find more of Henry Sachs’ music HERE.
