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In the Middle of a Boiling Sea

by Nonexistent Night

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    Carrie Feller (who creates gloom-synth earworms under the moniker Hexa), Sal Gallegos and John Rieder (of the instrumental noise-rock duo Secret Fun Club) first began working together in mid-2019. The odd, left-field idea was a cover of “I Was a Teenage Werewolf” by The Cramps, which was eventually featured on the compilation Really Bad Music for Really Bad People (Three One G, 2020). This unlikely-but-in-retrospect-perfectly-sensible collaboration continued on in spring 2021, when Carrie recruited Sal and John as the rhythm section for a new instrumental composition. The result was “Prelude in Terror,” a sonic partnership so thrilling and intuitive that a full project as a trio seemed like the only rational next step. Nonexistent Night formed soon after, and the three musicians began writing the songs that would become the new LP In The Middle of A Boiling Sea over the subsequent 12 months. The band made its live debut in June 2022 and then, with the blessing and support of the label Three One G, began production of their record throughout late 2022 and early 2023. The band recently added Alia Jyawook (Scary Pierre, ex-Hot Nerds) as permanent cellist and guitarist and are already working on new songs for a follow-up record. Influenced by bands like Three Mile Pilot, Rachel’s, Slint, Chelsea Wolfe, King Woman, Kate Bush, June of 44, PJ Harvey, Nick Cave, Om, Low, Converge, and Tristeza, Nonexistent Night is elegiac, dramatic, and tinged with dread: post-rock for a drowning world.

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about

The debut album In the Middle of a Boiling Sea is strange cartography outside the steady forward flow of time. Across five tracks largely focused on the interplay of piano, bass, and drums (with cello, guitar, and vocals layered in as complementary texture), Nonexistent Night’s debut traces wild arcs and interlinks sonic spaces and legacies as disparate as San Diego, Louisville, Tijuana, Chicago, and Southeast London. The record is, in a sense, nakedly nostalgic, in the original ancient Greek sense of "a return that wounds.” After all, post-rock (a term more puzzling the further it gets in the rearview mirror) was only ever a placeholder genre for an industry that did not know what to do when punks suddenly started playing strings, piano, and vibraphones. As the seedbed of many of our current crises, the 1990s were pretty fucked, but the band finds there is still much to be mined from the moment. In the Middle of a Boiling Sea engages a 1990s art and post-rock past that never really was–one that, recontextualized, can be a new site of return.

credits

released January 26, 2024

Carrie: Piano and Vocals
John: Bass
Sal: Drums

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about

Nonexistent Night San Diego, California

Carrie, John, Sal, Alia
Dystopian Post-Rock San Diego,CA

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