Sunday, February 15, 2015

Sounds Reviewed #7/2015: The Quash Wagon Reclusion - A Room with Tempered Walls

Dear Readers, 

the sensational third release by The Quash Wagon Reclusion with the smart title "A Room with Tempered Walls" (self-released on bandcamp in February 2015) gave me the opportunity to re-open my sounds reviewed section after a long hiatus. Read the word sounds both as a verb and a noun. Now I will go on reviewing on a more regular basis. In various formats from lengthy reviews to feverish counter-signatures or groovy freestyles. This depends on the record. The following text was written in a free improvisation in real-time while listening - and I kept the raw character of this review. Although it could have been unfolded in a more systematical manner.




This record is already one of the best records this year. And I write that without the shadow (a little insider joke) of a doubt and without a nano-second of hesitation. This record is a lot at once. A Robert Rauschenberg Metal Sculpture build up as a pile of guitars crashing into each other in realdreamtime. Slomo-Auto-dissecting-"Rock": an Auto-Autopsy of "Rock". A fierce and boiling combination of material-force against the usual material-form - "un système surlinéaire un rhizome au lieu d'un arbre": an aural plane of a generalized "glissando " ("Plan sonore d'un "glissando" généralisée" (cf. Gilles Deleuze, Félix Guattari, Mille Plateaux). The players: where are they ? Maybe sucked in by the instruments themselves - playing themselves totally de-humanized, a guitar playing a guitar ! Performing guitarcrashs like carcrashs: a-subjectal sounds !

A dis- and re-entanglement or welding of guitar(sounds), guitar-(k)no/t/d/s and nodes: the shaking of metal sculptures like Harry Bertoia's, but this time weirdo-electrified. As if ONE-SOUND - Guitars-in-Coma; or guitars bend by the curvature in time/space (= a soundspace ?) - or vice versa time/space being bend by the sheer mass (a sheer hellish miasma) of guitars, drums etc. Julio Estrada's Pieces for Stringquartet meet Iannis Xenakis' percussive glissandi or both hammering the scales into metal: a re-chording and a turning of space-time-articulations up-side down. Where do these pieces start: infinity jazz ? These guitars weren't played with hands. They sound almost automatic like in Nancarrow's Studies for Player Piano. Maybe these musicians are pulling the strings while hanging on the ceiling like spidermen (yes a plural, my dear !) or the strings played like a spider’s web - causing vibrating pluriverses like in string-theory. Drums are played like percussive fretboards in the background.

A me(n)tal-machine-music: translating electroacoustics - acousmatics - minimal electronics (Deleuze about the syntheziser) i
nto stochastic guitarmusic. The morphing of guitarsounds with guitars losing their identity playing themselves all along like samplers ? What is a guitar, anyway ? For example, sometimes accordion-sounds pop-up and re-morph back into "guitar"-sounds. Been thinking of Morton Feldman's method in his lengthy Stringquartet 2: changing the character of static pitches by introducing new playing techniques or mere repetitions. This is a Dream-Building or a dream building: Kevin's drum(m)s aufgehoben Or Cut(t)s Derek(tly) into Bailey's Quiet North...


SKG, 15.2.2015

The Quash Wagon Reclusion 
"A Room with Tempered Walls"
(released on bandcamp, 9. Febr. 2015) 


Highest possible recommendation !
(10/10 Admiration points)