*PRE-ORDER* Sissy Spacek - Geometric Reason CD (SSSM)

Sissy Spacek have been operating at the fringes since their inception
in 1999, building a body of work that defy's easy categorization while
continuously redefining the outer limits of sound. With a catalog that
stretches from blistering noisecore to austere minimalism and
blown-out maximalist chaos, the project—anchored by John Wiese and Charlie Mumma—has long functioned as both a band and an open system for collaboration, experimentation, and sonic extremity.

This new album, presented by SSSM, finds Sissy Spacek working in a
distinctly musique concrète mode. It’s a dynamic, untamed collage
assembled from electronics, acoustic instrumentation, and voice—cut,
spliced, and reconstituted into something that feels at once immediate
and disorienting. The record moves with restless energy, embracing
abrupt shifts, dense layering, and moments of uncanny clarity that
surface and dissolve without warning.

A notable aspect of this release is its vocal presence, which threads
through the compositions with slurred ambience—a clear nod to Wiese
and Aaron Hemphill’s project Strain of Laws, with the voice
functioning less as a narrative anchor and more as a volatile material
within the larger sonic architecture.

The lineup brings together a formidable group of longtime
collaborators and core contributors. Alongside Sissy Spacek mainstays
John Wiese and Charlie Mumma, the album features Mitchell Brown (Gasp,
LAFMS), Aaron Hemphill (Nonpareils, Liars), and Jay Randall
(Agoraphobic Nosebleed). Each brings a sensibility, resulting in a
record that feels both cohesive and constantly in flux, shaped by the
friction and overlap between these varied pallets.

The album was assembled at Studio 2 in Altadena, California, under
circumstances that inevitably left their imprint on the work.
Following a displacement of nearly six months due to the Altadena
fires, the return to the studio marked a charged and transitional
moment. That sense of rupture and re-entry can be felt throughout the
record in its uprooted volatility, its density, and its refusal to
settle into a single mode for long.

The visual component of the release is equally considered. The
artwork, designed by Wiese, consists of five postcard collages that
mirror the album’s compositional approach: layered, tactile, and
assembled from disparate fragments into a unified whole. It’s a
physical extension of the same collage logic that drives the sound.

This release also marks a meaningful connection between Wiese and
SSSM’s Hiroshi Hashimoto, whose relationship dates back to August 2000
in Nagoya, Japan. The two first met at Tokuzo during a now-legendary
lineup featuring K2, Government Alpha, and Tadayuki Miura. What
followed in the ensuing years of correspondence and exchange, trading
as a long-distance dialogue, now finds a new expression in this
release.

Sissy Spacek has a deeply rooted history with Japan. Their 2018 tour
included a stop in Nagoya at HuckFinn, sharing the bill with
Contagious Orgasm, Gang Up On Against, Mürmür, and Chaos Channel. Over
the years, they’ve also released work through a number of key Japanese
labels, each highlighting a different facet of their sound: Dotsmark
(including both a grindcore album and a collaboration with
Hijokaidan), Hello From The Gutter (noisecore), Daymare Recordings
(spanning minimal and maximal approaches), and 777 Was 666 (loop-based
industrial noise). Taken together, these releases underscore the
project’s remarkable range and its love for Japan’s experimental and
noise underground.

With this new album, Sissy Spacek continue to expand their already
vast sonic vocabulary. It’s an album that is shaped by time, distance,
and reconnection, both personal and musical, while remaining firmly
committed to the group’s core impulse to push sound into new,
unpredictable forms.