Nowadays, every DJ identifies as a slash/hyphen producer. In post-punk, post-rock, pre-classical, whatever, not every guitarist also hires out as a producer. For a CV on Mark Deutrom, Spotify no further than his three solo albums, plus one full-length leading Bellringer, and next month’s tour de force, The Blue Bird. If Eighties indie ever produced a DJ Shadow, maybe it’s the local audiophile.: Rather than soundscaping through digital manipulation, the shaper of early works by Neurosis and the Melvins (the latter of whom he joined) creates an experiential sound capsule through arresting genre inflections. Pink Floyd enjoyed major label backing, but Deutrom, who moved to Austin in 2003, can whip up minor miracles (revisit “The Value of Decay,” June 22) in a garage.: “Music is momentary and transient,” he said last week atop Mount Bonnell. “You have to sacrifice part of your life to listen to music – really listen to it – and that’s why the abomination of music in retail is so hideous. It’s just, ‘Please God, let’s fill up the space.’ In Finland, they’re basically promoting themselves as the Land of Silence, because they value silence.: “The U.S. is afraid of silence. If you’ve got silence, then you’re going to start to think about stuff, and that’s going to be bad, because we don’t want anybody thinking about things since they’ll start to think about the bad stuff.”: The Blue Bird, teased through a sole outtake at this rare Austin sighting of Deutrom, again conjures The Dark Side of the Moon, to which the axe murderer’s local trio Bellringer is no stranger. Eight-minute epic “Quitter” from the group’s 2016 debut Jettison completes an album cycle in one song!: “I work really hard at creating a universe that reflects the emotional content of a song, the intellectual content of a song, and the subterranean and subconscious qualities of the music, too,” finalizes Deutrom.
Fri., Dec. 7, 8pm