Theory Therapy 41: Bluetung | Low End Theorists

Aug 17

Aug 17 Theory Therapy 41: Bluetung

Spellbound in Naarm.

Theory Therapy #41 is a spellbinding quiltwork of delicate folk musings and surreal soundscaping by Naarm-based producer Mitchell Reynolds aka Bluetung.

Sonically, there’s a lot of similarities between this mix and the music Mitch has released, especially last year’s spectral Room Tone Paintings on Altered States Tapes and the kosmische-inspired Music for Our Dying Earth on jpeg. Artefacts. (If you haven’t checked these albums out already, I highly recommend you take the time to do so.)

Like those releases, there’s an equally unadorned and intricate quality to this recording. As Mitch modestly puts it, “there are a lot of different vibes in here, my mixes are big collages or audio scrapbooks, very unceremonious”.

Hey Mitch. How are you doing today?

I’ve just got back from a lovely weekend away up in the lush northern outskirts of Sydney, so I’m feeling pretty restored but also in a bit of a soppy wistful mood right now honestly.

What was the last song you listened to?

On the speakers right now is ‘Bränna, känna’ by Treasury of Puppies.

Where is your favourite place to listen to music?

Probably lying down with headphones on, but that’s extremely rare. A record in the living room on a sunny morning might be a close second.

What other album or artist do you listen to a lot we might not expect based on your music and mixes?

My friends know I’m a post-punk tragic at heart.

Outside of music, what else have you been enjoying lately?

I’ve been working on a publication and have really enjoyed thinking about a different medium, learning how to be playful with different tools. A very talented designer friend has helped out and it’s been really nice to skillshare with her.

You're studying electronics at uni. What's been the biggest lesson you've learnt since starting?

Learning to accept those unexpected errors along the way and still be happy with what you've built. Obviously that's a pretty universal lesson but it can be difficult when you've spent so long researching, designing, sourcing components, soldering, wiring etc and then things aren't working as planned. That goes for more involved and considered projects, but circuit-bending and hacking can also be extremely liberating from that whole process.

That's also how I got started – there's really no barrier to entry! I was just eager to take on a new project so I watched some videos about circuit-bending and bread-boarding oscillators then was off on my way. I’d encourage any curious person to do the same. I'm doing a TAFE course now learning proper circuit design (and plenty of physics) but for audio gear you really can just freak it in any way and have amazing results.

And recording music with something you’ve handmade is such a different relationship to that with any consumer-goods (you’d hope so). A junk store delay pedal you modded with $10 of components will mean so much more to you and get way more use than any overpriced synth module a youtuber peddled. This is turning into a ramble I apologise…

Your releases are sonically quite different. How do you decide to start a new album? Is it a conscious thing?

Thank you for saying so! I do try to make each album its own little world. Starting on a new one is definitely is a conscious decision for me – I’m always recording dribs and drabs but eventually there will be a certain sound that I really want to focus on, ideas to flesh out, or I’ll feel pent up creatively and will dedicate a month to record as much as possible. Then I’ll take stock at the end of that burst, polish the best ones and mix them down. I don’t mean to oversimplify, sometimes I won’t find that specific desire or sound for quite some time, but when it is album time I’ll be very industrious.

Tell us about the mix you've recorded. Where did you record it? Are there any tracks that are particularly important to you?

I recorded it at the Myrtle Academy of Physics & Sonics aka my crumbling old Brunswick East sharehouse. There are a lot of different vibes in here, my mixes are big collages or audio scrapbooks, very unceremonious. I did put a few of my own recent demos in that haven’t found a place on any other release, one of them was the first track I recorded in my current house after a move, and for candour’s sake there’s a little phone recording of me singing a Duster song.

Where would you recommend listening to it?

On the train home from work, at home while you read, in headphones on a long walk.

Theory Therapy mixes are about sharing the music that you personally find therapeutic or cathartic in some way. What does that mean for you?

I definitely put some comfort music in there. The slowed down Corbin track layered over Steve Roach+Michael Stearns is one – potentially the perfect comfort music for a secret sad boy who makes ambient. The Kath Bloom track is another, I adore her early albums so much and that song has been ruining me lately.

Is there a particular album or piece of music that you find yourself returning to for similar reasons?

The whole Trans-Millenia Consort discog, Cocteau Twins & Harold Budd’s The Moon and the Melodies, Eno’s Apollo.

What’s on the cards for the second half of 2022?

I have a long-form sound work and that accompanying publication which will be released very soon. It's quite different from my usual fare and doesn’t use any traditional instruments/musical tones (electronic or otherwise) but I think an open mind and a “deep listener” will appreciate it. I’m also mixing my next full-length record which could only be described as early 2000’s microsound/clicks-n-cuts meets synthy acoustic folk. I could try and describe it further but I’d be splitting hairs, think Jan Jelinek Kosmischer Pitch or Fenton Pup. Just taking things day by day and trying to make time for what I love.