Teargas & Plateglass

The explosive tempo of technology is war; the untellable violence of relocation in technology is war. All of us are refugees driven from our human state. excerpt from Black Triage liner notes.

Emerging from a 3-year hiatus, the enigmatic Teargas & Plateglass delve into the depths again with Black Triage, the bands new album on the Waxploitation label.

With a stunning Sebastaio Salgado photograph for its cover, Teargas & Plateglass' eponymous debut was a noteworthy underground release, referenced mostly by other artists: Danger Mouse ("heavy visual stuffsounds like the end of the world), King Britt (restores my faith that deep, dark music still moves the masses"), Chris Vrenna ("a soundtrack to the darkest places in my mind"), along with a few publications: XLR8R ("darkness mixed thick like a pool of blood take with a stiff glass of Absinthe").

The band retreated until 2004, reappearing to perform unannounced eastern European shows guised under the names Septagon, Undecagon, Duodecagon, Enneacontagon, and Hecatommyriagon. No confirmable shows have taken place since then.

Choosing its company carefully, through criteria often misunderstood, the band have produced songs and remix collaborations with an array of disparate artists including David Sylvian, The (International) Noise Conspiracy, Zap Mama, the Roots' poetess Ursula Rucker, pioneer of modern harmonic music David Hykes, the Cte D'Ivoirean songstress Lil Gong, Tweaker, cha'abi moderne singer Natacha Atlas, and Elysian Fields Jennifer Charles.

The band's new Black Triage album resonates with the backdrop of genocide, combining stark breaks and haunting vocals, poignant strings and melancholy synths. Provocative and intense, where moments of silence evoke not peace, but claustrophobia.

To compliment the visceral quality of Black Triage, the text for the booklet was penned by the renowned filmmaker Godfrey Reggio of Koyyanisqatsi fame.