Available on: Apple Music Spotify Tidal Amazon Deezer iHeart Radio Qobuz Live direct to tape cassette recording session from 1998 in semi-sides format. I was not nude. The reel was. Enjoy. TâŚ
"Evolution of Roesing Ape style from 1995 to 2021
From 1995â2021, Roesing Apeâs work moves from scrappy loâfi tape noise and altârock into more conceptually framed, stylistically varied noise and experimental music, while keeping an improvisatory, DIY core.
Late 90s: cassette noise and altârock roots
Mid/late 90s releases are described as fourâtrack tape noise jams and âpoor early 20s hippy altârocker 4âtrack syndrome,â built from guitar, Casio, cheap delay and live-to-tape sessions.â
There is a blend of noisy improvisation with songs written for various bands, showing early crossings between noise, rock, and singerâsongwriter material.â
Early 2000s: harsher noise and performance art
Around 2001, Roesing Ape appears in live noise contexts (e.g., the Masonic Lodge art show with Burning Star Core) and as a performanceâart group, framing the project within experimental/avantâgarde culture rather than just homeâtaping.
Releases like âFucks Me Variationsâ and later earlyâ2000s titles emphasize extended noise pieces and boxâset concepts, suggesting a shift toward more extreme, longâform noise and artâobject presentations.â
Midâ2000s to early 2010s: thematic noise and hybrid forms
Albums such as âLand of Zog,â âMedia,â and âMusic is B******tâ foreground explicitly âsheer noise,â cutâups, and spokenâword remixing, tying the sound to specific scenes and narratives (e.g., dark Cincinnati undercurrents).
By 2011âs â13 PostâMedium Appalachian Folk Noise Songs,â the project explicitly hybridizes noise with regional/folk reference points, pointing to a more selfâaware, genreâbending noise practice rather than pure abstraction.â
Late 2010s: consolidation and catalog framing
Later entries and reissues on digital platforms present earlier noise, live sets, and altârock experiments sideâbyâside, curating them as a coherent body of work rather than scattered tapes.
The stylistic throughâline is maintained: improvised structures, tapeâsound aesthetics, and a tendency to rework, slow, or reformat earlier noise recordings into new âreelâ or âsidesâ concepts.â
Around 2021: crossâmedia artistic identity
origamiaround
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amandla
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2087
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