Death Tape Super Bass is the solo experimental sound endeavor of Alex S. A Chicago resident, Alex founded Death Tape Super Bass as a moniker to incubate and harbor the multitude of synthesizer-driven sound experiments swirling about in his mind. The name pays homage to retro exploitation movies. Though it does not refer to a specific one, Alex describes the project title as a cheesy name he could envision being used in the form of a marketing gimmick for one of these flicks. This is not to say, however, that there exists a thematic semblance across his body of work. Alex notes that he does not prescribe himself to a specific style or aesthetic as he is always seeking new sounds, timbres, and textures to augment his auditory palette. What he revels in is exploring concatentations of sound that surprise the listener.
This desire to surprise is evident in his discography, both across albums and even inside of some. Short Film Sounds Volume One (embedded below) encapsulates a sundry of unnerving compositional bites from snarling harsh noise to wispy night sky ambience to primitive electronic beats. And his album Kicking In is an expansive moodboard of retro, dystopian-tinged dance beats constructed of synth. It would deaden the impact and surprise to describe each style he embraces and explores. But let it be known that there exists an absurd quantity of experimentation to immerse yourself in and dissect within his rapidly expanding discography; it is worth the plunge.
In this conversation, Alex discusses the formative years of Death Tape Super Bass. He explains his reasoning for not adhering to a specific style of sound, the process by which he produces a track, his innate desire to unearth new sounds to broaden his soundboard, and a good deal more. After the conversation concludes, Alex leaves us with an improvised cut, showcasing his knack for blending sounds that, on the surface and individually, don’t appear to fit together. Thank you so much for listening.