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Jesse:
Blondertongue (Blonder Tongue, bt, bLONDERtONGUE, etc.) was begun in 2024 as an interest in ethnic electronica began to precipitate in Jesse (Strobel, myself) and David (Thornton). Having participated in a series of rock-centric bands together, this endeavor was the first truly liberated architecture either of us had opportunity to work inside of, and so far it has been amply productive; far moreso than any of the guitar+drum+bass configurations.

The music making process for bt is freeform; we've used synthesizers, drum machines, electronic wind instruments, bass pedals, radio and television, field recorders/recordings, MIDI percussion pads, MIDI controllers, fretless guitars, guitar synthesizers, samplers, miced acoustic percussion, no input mixing, sidechaining and many convergences of these articles and production techniques. The mastering processes are what we seem to emphasize the most, as the curational process is so varied and could be so labyrinthine one day and so singular and plain and rudimentary the next, that the only thing which can be forecasted is the consolidatory exercise.
Blondertongue is almost sure to be a studio-only venture over the course of its lifespan, owing to the out-there nature of its sonics as well as its essential interaction being between two people and an (the) ecosystem of conventional and unconventional studio electronics.

Influences for Blondertongue include Muslimgauze, Genocide Organ, Pablo's Eye, Jerry Hunt, Solmania, BullOfHeaven, Panasonic, Suns Of Arqa, Rapoon, Zoviet France and Scorn.
The pool of inspiration is murky, still and definitely amoeba-ridden. With the exception of perhaps Genocide Organ and Robin Storey's eternal projects, the other and more centerfield prompts for emulation have been defunct for some time, due to human mortality or otherwise. On my part in the project at least (I know my collaborator is into Muslimgauze and Genocide Organ), I am looking to purveyors of forms of music which are textural (Solmania), idealic (Muslimgauze), identifiable (Jerry Hunt); various faces of art which are one in a million. In the context of this project especially, the scarcity of the attributes that appeal are something to the tune of one in a million.


PCM001; compilation of PCM Masters (August 2024-January 2025);


Late November 2025;

Short tune featuring a melodic triggering of the 9/11 hijacking audios. Most similar artist; Jerry Hunt.

  

Much the same as the previous, only that it's a less staccato iteration.

  

The first synthesizer-incorporated hand drum foundationed jam tune (of mine). Leverages the multitrack functionality of the Fostex D108, the microphone arm array, acoustic tribal "hand" drums and a Roland keyboard among other auxilliary components. Most similar artist: Suns Of Arqa.

  

Another hand drum foundationed synth-layered jam. Most similar artist: Muslimgauze.

  

Brief document of a particular patch with abraisive percussion. Most similar artist: Ministry.

  

More fleshed Blondertongue demo featuring the programming of D and same session guitar of J. Most similar artist: Muslimgauze.

  

Same situation as the previous, an alternate take.

  
January 15 2026;

Part one of a two-recorded part exploration of a 1/4in-leaded omnidirectional mic with its pop filter removed, craned to point horizontally at where we positioned the head of an acoustic drum. David manipulates the global pitch of the sampler, varying the character of this programmed element from 80s+robotic to cold+planetary+textures - as he does this, I play a djembe and, at times, deliberately overload the preamp by striking the drum harder. Most similar artist; Muslimgauze.

  

Part two of a two-recording series of acoustic drum performance utilizing a single uncovered omnidirectional microphone driven hard by its preamplifier (an Alesis MidiVerb III) and, this time, two drums being played by two people huddled to its sides (the performances would've been better captured if we'd oriented ourselves a little more in front of the capsule). David is fond of the 5th minute onward. Most similar artist; Muslimgauze.

  

A goofier tune which features a random-data sequence plotted by David, and the resources being triggered are gradually auditioned by Jesse; the sampler is an E-MU ESI-32 that has the first-heard human voice, as well as the overeffected percussive sounds that share its sequencing. Later, an undercurrent is reintroduced and that unit is an AKAI S2000. The end is truncated as the means of recording, a 360 Systems DigiCart II, reached the end of recording time on the Zip 100 disk that was being written to. Most similar artist; Revolting Cocks, Depeche Mode.

  
January 21 2026;

A synthesizer-driven track which derives inspiration from a Muslimgauze melody (Gulf Between Us, 1997), and features a pitched and sequenced sample of a djembe, making for an earlier Muslimgauze sound aesthetic. Most similar artist; Muslimgauze (Narcotic, 1997).

  

A more longform (and disjointed; non-continuous) jam which evolves from a furthened exploration of the song in Part A of this date's production, into something more atomic (lone component; loop) and bombastic (density of that singular element), in the frenzied loops of jagged sections of frenzied oriental music that appear nearly eight minutes in. Most similar artist; Muslimgauze, Izlamaphobia (1995).

March 26 2026;

. Most similar artist; Muslimgauze.

  

. Most similar artist; Muslimgauze.

  

. Most similar artist; Muslimgauze.