What they offer are nothing less than new forms of beauty in song. Phantasies and Senseitions overflows with a microcosmic (un)rock that offers succor to people bored rigid by the formulaic record-collection plundering that most groups call songwriting. Phantasies and Senseitions has the refreshing splendor of naive folk art, that sense of being timeless and utterly natural…Bugskull breathe ingenuity like the rest of us mortals inhale oxygen.

Steve Savoca, CMJ New Music Report, 4/10/95

Portland, Oregon’s lo-fi dreamers arc-weld electronic ambience and indie rock into an airtight container and cast it into a watery grave….The result is lavishly textured, rich with imagery and suffused with sad beauty and maddening isolation.

Kathy Molloy, Snipehunt, Spring 1995

Bugskull are the sleeping giants of Portland, amiable young men who are rather adept at building high-rise soundscrapers of sleepy guitar, whirring electronics and quivery vocals…The violin, spooky organ and assorted reeds, blips and beeps give one the impression of Pink Floyd and Chrome dueling in a submarine. If you thought all the hip Portland scene had to offer was grease monkey rock and its attendant introspective solo careers, get wise to the muzzy psychedelia of Bugskull.

Sweet Portable You, June, 1995

Bugskull is continuing to fashion a kind of honeycomb of their own atmospheric blurgh and this eighteen-tracker has to stand of such big strength as to be called the cornerstone. A real nineties record of ambiguous sway and sinew; a great accomplishment from all my angles.

Bronx Cheer #1

The vinyl output of these Portland fellows has been most impressive…On the race to drone pop heaven you’ve got Stereolab, Bugskull and Flying Saucer Attack and it’s anybody’s guess who’ll end up on top; just don’t do yourself the disservice of missing out on their efforts.

Dave Segal, Alternative Press, July, 1995

Bugskull…create some of the most expansive, distinctive lo-fi music of the 90s… Bugskull are the soul of subtle inventiveness, masters of seduction by sonic understatement.

Amazon Description

Bugskull’s debut album is sonically all over the map, though without annoying “genre hopping.” There are gorgeous reed-accented instrumentals, floating tape loop stun-whispers, space travels, lonely noise, scratchy guitar pop and outright weirdness. It all bears the distinctive Bugskull stamp of gentle dissonance, spacious melodicism and a cushy low end delivered with nary a cliche or heavy hand. People keep saying it’s diverse yet cohesive, and you should believe them.

The first full length CD/LP release by Bugskull, on RoadCone records in 1994.

Intro

Shorty

Opening Theme

Inhuman

Elfin Majic

Recoder

Old Towne

Concave Life

Long Corridor #6

Almost Blue

Seguara

Big Ronnie

Sit On This

Concrete Boots

Olympic

Death Valley ’94

Choosegase

Space

The LP had a different cover:

 

Posted here is “Wolves”:

Wolves

Any labels interested in releasing this should contact Sean.

The most amazing, diverse and powerful album in the Year One – a wide- screen soundscapes familiar from spreading Draw transmission icon, hip-hop interlude BLEEPY variation and miniature – absolutely necessary It is.

Early 2000s and 1992, from folk singer , so in lo-fi avant-garde performer of traditional and Bugskull (aka Shonban) is Portland ( Oregon independent India’s finest) for selection of highly acclaimed columns of the work has been released.

Since then, Growing experimental and small scene NorthWest founder of America ‘s cities , so concentrated, but his name was circulating among them whisper that they are familiar.

His body of work by John Cage, from Syd Barrett attracted comparisons to everyone. And, hang with friends in Portland who contemporaries Pavement or Elliott Smith than like, the indie put him far outside the sound.

Their sound, his work draw icon, free jazz and the Dadaist psychedelic covers Derrick works. And new album “Communication”, heard earlier this year we record the most diverse, original and was expected to meet large. Strong melodic identity and the balance is lost in the texture elements are linked by a tendency towards contrast to the surface.

This album (the most in nearly 10 years) is a relaxing one of those, beat with psychedelic is divided between the pastoral environment and all-consuming. And appeal to a wide range of tastes and sensations.

Drive the beat with a first side, we “Exposed Wires” or ” Floppy Drive “in fancy lower the base line, J Dilla can hear an echo of.

However, heterogeneity is prepared with quality organic loose melody , and, “High Steppin’II” on the initial distortion of the Aphex Twin remind tape gentle bite, or, Hauntology pioneer Position Normal modified by the “Italy of Ra.H” the space of a circuit.

On the second, the title track strings , “Life On Earth “immediately for Edward Williams of the Chamber reminds. Stars Of The Lid. However, lo-fi in miniature, “Pondlife” hiss-texture on a dive into the illusion of field recordings and subtle voice, “What’s That Light” a gentle acoustic guitar before the end of happiness, Stars Of The Lid on played.

At least one far artists sound like the work area with a range of sounds on display here will be surprised, guitar , calimba, and the organ several contributions in aside, it’s modern music The invention of characters is very intriguing one. Unbelievable.