The output of local label Hausu Mountain ranges as widely as the psychedelic folk of Eartheater‘s RIP Chrysalis (2015) and the assaultive techno of Davey Harms’s Cables (2016). The common thread linking most of its releases, though, is an aesthetic of studied avant-garde hermeticism: everyone on Hausu Mountain seems to be sliding down their own tunnel to their navel. Not only does it sound like Eartheater has never met Davey Harms, but you’d also suspect that neither of them has ever met anyone. The acts on the Hausu Mountain roster each seem to live in their own gloriously insular towers.
“Natalie and Doug are my two biggest influences,” Allison says, “not only because we’ve played together so much, but because I find their individual practices each inspiring to witness and take part in.” The Family Batch feels like a mutual-admiration love fest, not least because it isn’t especially stylistically coordinated or coherent. Hausu Mountain finds community in everyone listening to everyone else doing their own weird and isolated things.
