Throwing Snow

Ross Tones is Throwing Snow. Throwing Snow create sensory-sounds. Sounds that surround. Sounds that move around. Sounds that seek (and find) physical ground.

Using the body as/is a conduit for primal urging. Instrumentation as a vehicle for traditional purging: instruments ranging from a bodhrán and daf to synthesised pulses and processed beats up to archeacoustic cut ‘n’ haste loops.

Re-mixing the past, de-positioning the present and fixing a future to innovate within. Time-mangling, rhyme-spangling heavy themes with ethereal dreams.

Fourth long-player, ‘Dragons’, is an audio-visually augmented art-piece (developed with artist, designer and technologist Matt Woodham) that (circum)navigates ancient approaches regarding technological progress to heeding contemporary caution with illogical regress.

Rock ‘n’ neural will never die. And here’s how (and why):

Medieval retrieval: ‘Dragons’ hinter-weaves the stereo with the monolithic.

Archaic transience: ‘Elder’ is a drum and bass skitteration of The Who’s ‘Baba O’Reilly’.

Magick hyperrealism: ‘Halos’ is a jittering, nerve-igniting, metronomical FX-spin.

Habitual ritualism: ‘Lithurgy’ is a hyper-trancefloor beat-stomper.

Epochal echoes: ‘Traveller’ is Movement. Momentum. Mobility.

Eternally preternatural: ‘Purr’ (par)lays down the folklore.

Immortal portal: ‘Brujita’ is panoramic sludge-rock.

Crusadism: ‘Equitem Nocte’ is a dubstep night-mare.

Doomsday disco: ‘Ochre’ is the Earth’s soil in turmoil.

Myth-shakes: ‘Dragons 2’ is harmonious ceremonial closure.

The late Genesis P. Orridge, Throbbing Gristle’s enfant terrible, agent provocateur, cultural saboteur and exemplar Templar of Psychick Youth once said ‘We live in this miraculous technological environment, and yet our human behaviour is still governed by basic impulses from prehistoric times’.

On ‘Dragon’s Throwing Snow bridge the paths between now and then, fill the gaps betwixt here and when and offer exit strategies for the philosophically zen. But, you have to WANT it.