Extended Listen: Clipd Beaks – WAKE + Hanetration Mix

“It’s effectively a bunch of drones, glitches and sound collages, but there’s real variation in there; some amazing textures, tones, rhythms and melodies. Plus a Malian kora/cello duet, a bagpipe solo and an improvisation by a five-year-old elephant.” – Hanetration


Clipd Beaks

Oakland’s bringers of psych-jazz-drone are back! Freshly disconnected with the mostly obsolete Lovepump United, Clipd Beaks have just self-released WAKE, a six-track sampling of long-forgotten works they’ve recently dusted off for your listening pleasure. Album single, “All The Way Evil,” which you can download above, recalls both a nighttime drive through winding dark canyons and an intense oceanic quest filled with sea monsters. Sound appealing? Get into the zone and stream the entire album below!

Hanetration

We recently posted a stream of Hanetration’s Tenth Oar EP — four tracks of mind-portal-opening glitch-drone brilliance — and I’m going to call it now: HANETRATION IS ONE TO WATCH FOR.

What I liked, to begin with, was his unassuming approach when contacting us. One might even go so far as saying that Hanetration probably knows he has something special to offer, so modest and simple his initiatory email was. No sign of vanity and No bells and whistles, save for three quotes from sympathetic blogs that respected his work.

“Can I point you in the direction of a download-only EP I’ve put together?” he asked. “You can find it at http://hanetration.bandcamp.com. Hope you enjoy it.”

He has continued the easy correspondence by recently bringing to our atention a mix he crafted exclusively for the blog Homeless Mind Theory. The mix is fairly spastic and wide-reaching, and samples from records which influenced his creation of the Tenth Oar EP. The influences are vast and global; they seem to link many continents and countries at once. Opener “Hana” by Asa-Chang & Junray is a mix of glitched-out Japanese mutterings with watery Indian percussion, and Hanetration’s brief description of the mix sheds humorous and fascinating light upon its diversity:

“I focused on the records I was playing around the time I made the Tenth Oar EP, and which may have influenced its sound. It’s effectively a bunch of drones, glitches and sound collages, but there’s real variation in there; some amazing textures, tones, rhythms and melodies. Plus a Malian kora/cello duet, a bagpipe solo and an improvisation by a five-year-old elephant.”

Written by
Vee Hua 華婷婷

Vee Hua 華婷婷 (they/them) is a writer, filmmaker, and organizer with semi-nomadic tendencies. Much of their work unifies their metaphysical interests with their belief that art can positively transform the self and society. They are the Editor-in-Chief of REDEFINE, Interim Managing Editor of South Seattle Emerald, and Co-Chair of the Seattle Arts Commission. They also previously served as the Executive Director of the interdisciplinary community hub, Northwest Film Forum, where they played a key role in making the space more welcoming and accessible for diverse audiences.

In 2017, Vee released the narrative short film, Searching Skies — which touches on Syrian refugee resettlement in the United States — and co-organized The Seventh Art Stand, a national film and civil rights discussion series against Islamophobia. 2022 sees the release of their next short film, Reckless Spirits, which is a metaphysical, multi-lingual POC buddy comedy for a bleak new era, in anticipation of a feature film.

Vee is passionate about cultural space, the environment, and finding ways to covertly and overtly disrupt oppressive structures. They also regularly share observational human stories through their storytelling newsletter, RAMBLIN’ WITH VEE!, and are pursuing a Master’s in Tribal Resource and Environmental Stewardship under the Native American Studies Department at the University of Minnesota.

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Written by Vee Hua 華婷婷
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