We've been planning to release a tape with Kansas popster Nate Henricks for almost two years now, following his label debut on Patient Sounds, 'Close Encounters with Green Magic' (released on 4/20, God bless), composed of two ten minute suites that collage Elephant Six/Olivia Tremor Control style surrealism with contemporary pop influences. As a solo recorder, the competing strains of Henricks' audio fetishes co-exist much more seamlessly than his antecedents; for example, hearing a digital era flourish bubble out from the tail end of looped bricollage is only surprising the first time it happens. 'Neon For No One' is similarly distilled, artfully so, with its runtime having been trimmed frequently during the production process, resulting slowly in a more and more dense, evocative outing. At times loops and the bright tones of his instrumentation approach the focused, hyper-awareness of ragas, but that belies how effective these recordings are as a vessel for his influences, offering subtle inflections from popular traditions that range from the commonplace to the esoteric, or even Utopian. Not always as contemplative or joyful, that register still gives fuel to the symbolic language in Henricks' lyrics when the juxtaposition of instruments and voice achieve their closest symbiosis.
Featured on Bandcamp Hunter's 'Best of 2014' List...
"Kansas based musical mischief maker has a prolific output and 'Neon For No One' might just be his finest work yet. Released on the great Crash Symbols, it’s an album that positively bubbles with imagination from beginning to end. Opener “Foxtrot Waltz” is almost an album in itself - veering from uplifting indie rock to inverted strings to an arcade theme music wigout before contorting back into an entirely different song, it’s a magical sonic pastiche. Like Chad Van Gaalen, Henricks is an artist who takes the modern pop song into wild and unhinged places, subverting your expectations at every turn. It’s a true joy to behold." -Bandcamp Hunter
"While he's kept his tracks relatively lean in the past, occasionally Henricks demonstrates the full force of his versatility with impossibly stacked collages . . . Smatterings of Wilco and Sufjan Stevens are the threads [through the] noise, whether it's a collection of sleigh bells urging you to 'Just keep on walking,' dappled tropics, or Beach Boy harmonies amid a Kinks jam session. Occasionally a movement will flicker into another like a poorly television with glitchy Nintendo noises or melting voices. This helps it feel more like an experimental mix than a song, made by turntables in Henricks' brain as they excitedly play back all the sounds it loves." -Chart Attack
"...a fuzzy, catchy ramble through a country-side of deconstructed power-pop, tight tunes that erupt into inscrutable noise just when you thought you had a hook to hang on to" -The Modern Folk
"Off-key, off-kilter weirdness strung together with bits of sound collage, and then delicate strings and lush horn arrangements (though paradoxically pushed way to the back), vocals that break through from time to time either drenched in reverb or in a full chorus; all of these ideas and more just start developing out of nothing as a sort of continuously engaging and shape-shifting event." -Quartertonality