Sounds Reviewed #16,2017: Dino Spiluttini - To Be A Beast (2017)

Silbriger Sternenstaub swirled up masterly by the Austri-Alien Sound Artist Dino Spiluttini in the disguise of twelve enigmatic, aural, foggy, and cinematic narratives. Beautifully distorted stardust memories coming and going almost organically like high and low tide. In any case: organ(ic) worlds, Opium Welten. Soundwaves bursting on imaginary beaches or rocks. An invitation for extensive daydreamings. Secretly dedicated to the death drunken or to bipolar suicidal flaneurs crossing Wien Westfriedhof in dreamtime with a bag full of samplers and other devices like the brain at hand. Dreamachines negate outer worlds. And Vienna is indeed a deeply suicidal landscape with a lot of "Fahrgastunfälle". Ask Thomas Bernhard. This recording circles around and flirts a little with the suicidal as if mirroring or translating a line taken from Thomas Bernhard's Auslöschung. Ein Zerfall:„Mein Bericht ist nur dazu da, das in ihm Beschriebene auszulöschen” into aural narratives. But it is also a lot more: a very friendly companion for more life affirming flaneurs with headphones walking through real or imaginary landscapes while attentively listening. Walter Benjamin had linked the flaneur with an animal as if having read the title of this record - To Be A Beast. He writes as if proposing a user's guide for Spillutini's aural narratives: “Den Flanierenden leitet die Straße in eine entschwundene Zeit. Im Asphalt über den er hinweggeht, wecken seine Schritte eine erstaunliche Resonanz. Ein Rausch kommt über den, der lange ohne Ziel durch Strassen marschierte. Wie ein asketisches Tier streicht er durch unbekannte Viertel, bis er in tiefster Erschöpfung auf seinem Zimmer, das ihn befremdet, kalt zu sich einläßt, zusammensinkt.” So don’t hesitate to pick up a copy and go for a sound walk and Wreck The Infinite ! Highly recommended work by Dino Spiluttini (contact: here). Out on Cut Surface March 31, 2017 (limited to 300 copies on green 12" vinyl, incl. double-sided inlay & DL-code). Contact and order (here) and (here).(10/10 Admiration Points).

Sounds Reviewed #14-15/2017: Angel Dust - Excavatum (2017), Dirt & Space - Ten Million Ways To Die (2017)

Angel Dust - Excavatum (2017)

A hero:in sounds. Mixed up with deadly Angel Dust. A trepanation of the skull. Dangerous. Abyssal. Excavating. Excavatum. Hollowed out drones drip down imaginary aural drains like Marion Crane’s black blood in the shower scene of Hitchcock’s “Psycho”. Prehistorical, murmuring voices echo long gone hunting scenes espousing and mixing themselves in prehistorical caves without exit. Tender bells POEtically buried under the sounds in the beginning:" HEAR the sledges with the bells, Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars, that oversprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells. From the jingling and the tinkling of the bells." Tremendous soundworlds conjured up on tape. Withering the tape and all replay devices. Just wait and see and listen. Auto-destructive in any case but poetical. In the words of the recently passed Oswald Metzger taken from his manifesto Auto-destructive Art (1959):“Auto-destructive art is primarily a form of public art for industrial societies. Self-destructive painting, sculpture and construction is a total unity of idea, site, form, colour, method, and timing of the disintegrative process. Auto-destructive art can be created with natural forces, traditional art techniques and technological techniques. The amplified sound of the auto-destructive process can be an element of the total conception.The artist may collaborate with scientists, engineers. Self-destructive art can be machine produced and factory assembled. Auto-destructive paintings, sculptures and constructions have a life time varying from a few moments to twenty years. When the disintegrative process is complete the work is to be removed from the site and scrapped. “ Don’t miss this essential release and order the tape @ Dinzu artefacts. More Angel Dust (here) and (here) (10/10 Admiration points)

Dirt & Space - Ten Million Ways To Die (2017)

No. There are not ten million bicycles in Beijing. And I still won’t love you till I die. Yes. But there are still ten million ways to die or to wither. The living will always have been inevitably, unavoidably and finally reduced by and to Dirt and Space. The question is: when and how ? This time: tenderly silenced and reduced while passing through extremely rich aural metamorphoses and versatile electroacoustic tranceformations and psyche-minimalistic variations. Performing MAN-ipulations of the brain crossing the organic towards the non-organic down to overwritten textures and total extinctions into pure kenotic sounds. Ashen Regiments. A total and sometimes a little dramatic negation of mimesis. Electronic birds twitter without account, hear ! Nevertheless this was recorded live to life and tape by Graham Dunning (one of my favorites by the way) and Andrew Leslie Hooker (a more recent admirable discovery of mine) using tape loops, feedback, spring reverb, plate reverb, tape delay, no-input mixing, scratchy faders and found sound. Re-working them later on. Letting the sounds travel from London to Bangor. In any case these are outstanding, pulsating soundworlds. A gem for your collection. Wonderfully designed tapes and covers. Don’t miss this and order the tape @ Dinzu artefacts. More Graham Dunning (here) and Andrew Leslie Hooker (here) (10/10 Admiration points)

Sounds Reviews #14/2016: Bird Traps - Everything must go (2016)

Bird Traps - Everything must go (2016)

Bird Traps' newest composition (released on bandcamp in August 2016) is really touching. It touches with intense tenderness the question of space and time and their relationships to music and perception. It is a good example how music can lever out the only seemingly existing relation between real-time and inner musical time. It is soul-time-music in the deepest sense of these words. Marcus Skinner's sounds are tenderly whispering or murmering Hamlet's famous verses: "I could be bounded in a nutshell and count myself a king of infinite space". His soundworld incarnates again perfectly the tension between laughter and tears, sadness and beatitudo, almost like Joyce had put it in one word: laughtears. It is a dialogue between piano and strings with an incredibly heartbreaking and ultra-intense beauty. One of Matsuo Bashô's most touching poems perfectly describes the atmosphere Marcus Skinner has created here:

Loath to let spring go,

Birds cry, and even fishes’

Eyes are wet with tears

Sadly, I part from you,

Like a clam torn from its shell

I go, and autumn too

(10/10 Admiration points)

[SKG]

Sounds Reviewed #13/2016: Deathstench & Phurpa - Evoking Shadows of Death (2016)

Deathstench, Phurpa - Evoking Shadows of Death (2015)

(LP Black Plagve 2016, lim. 150 copies)

I am really and deeply impressed by this 12 inch Deathstench and Phurpa collaboration (limited to 150 copies). I have listened to this 26 minutes highly adventurous aural abyss already several times and I am totally bassthrilled or basstatic. This is definitely the best "ultrasounds"-recording in ages. It feels like being scanned or skinned alive in some dark ritual desperately trying to find or carve out a soul under skin and bones, but finding only shadows of death. It is some kind of deeply twisting ultra-dark psychedelia without psyche at work here. Especially when listening in bright sunlight: a truly contrasting mourning music or re-birthing chant.

Deathstench and Phurpa are some fiery-cinder-masters: courageous dead matter (re)visitors and death-matter survivors – melting sounds into an ultra-esoteric chant – morphing ashes into fire and fire into ashes – it's some kind of spooky funeral - living is dying and dying is living - death-becoming-lifedeath or deathlife --- or some Tibetan evocations or dark-buddhist-cave-meditations:"As long as you're enthralled by a lifeless form, you are not free"(Bodhidharma).

Bodhidharma can't close his eyes because his eyelids are cut off (that's a real story!). He perceives only darkness and harpooned sounds in his cave. I really and truly admire this, because it's a non-genre-music rather again a truthful articulation of the life-death-tension or deadly suspension. This is the bomb with (doommaster) Billy Anderson on OM-matic boards ! How will this sound live !! Watch out for more Phurpa and Deathstench (click on the respective tags below) !

(10/10 Admiration points)

[SKG]

Sounds Reviewed #12/2016: The Quash Wagon Reclusion - Eschewal (2016)

"Eschewal" (bandcamp VI/2016) is the fifth and again absolutely outstanding release by The Quash Wagon Reclusion. And it documents again their incomparable and indispensable mantratronic approach to music. It is an eschewal in any case, it is a total avoidance of origins and onto-archèo-logics. It is a "stratégie finalement sans finalité, on pourrait appeler cela tactique aveugle, errance empirique, (...) l'unité du hasard et de la necessité dans un calcul sans fin"(Derrida). The music starts on Unexonerated as if it has never ever started in a subversively almost Mizutanian robotic drum locked groove - slaves to the rhythm. In a way this recording is and is not spinning. It is following the record groove virtual a never ending spirale or möbius band. In this it has a selfdestructive, selfabsorbing or tempophagic groove. It is like an abyssal Dialektik im Stillstand or to put it differently: it plays or spells out Hölderlin's line Schwer verlässt / ​Was nahe dem Ursprung wohnet, den Ort. 

Hear or here, suddenly mortified, locked up, petrified, suddenly un-chained to the groove:"les automates s'arrêtent et laissent monter la masse inorganisée qu'ils articulent" like an infant covered in dream-language and baptized with dream-water "le corps plein sans organes est l'improductif, le stérile, l'inegendré, l'inconsommable. Antonin Artaud l'a découvert, là où il était, sans forme et sans figure. Instinct de mort, tel est son nom, et la mort. Car le désir désire aussi cela, la mort, parce que le corps plein de la mort est son moteur immobile, comme il désire la vie". Picking up all these counter productive or counter spinning energies of the locked groove dissecting the standstill even further and further trancelating it into an even more extreme desire to interrupt the forces of inner-musical necessities to begin and end somewhere. As if played backwards or inverse or reverse it avoids developments at any cost in a spectral catatonic soundscape activating strong traditions of musical standstill from Stuart Dempster, Tristan Mural to Luigi Nono meeting a dark Derek Bailey in music never-ever-more-then-zero-land. Guitars cannot hide in camouflage forever.

Guitars are eager to destroy their masks now in an even more desperate final move, yes - yes "l'improductif, il existe là où il est produit. Il est perpétuellement réinjecté dans la production, Le corps catatonique est produit dans l'eau du bain. Le corps sans organes est de l'anti-production". Uninculpated catatonia retrancelated itself back into the anti-productive energies of the non-origin or non-source or non-beginning. Placing the needle in locked groove again. A möbius strip, striving again back to zero which is of course still impossible. A​ metamorphosis made impossible through an infinite filo relecto: "la génèse de la machine a lieu sur place, dans l'opposition du procès de production des machines désirantes at de la station improductive du corps sans organes".

(10/10 Admiration points)

[SKG]

Sounds Reviewed #11/2016: Cave Bacchus - Destroyer of Naivetés (2016)

Cave Bacchus’ Destroyer of Naivetés mesmereyesed me on all mantratronic levels, conseequently eye treyed meye best to enter this maddening of the erectile while carrying headphones. Id contains or uncontains three folded, funny trinitarian sound worlds ur-deranged like borromean (k)not/ds, desiring machines or radiooscillating lacanian earrings (and yes, my lacanian ear still rings in a deep orgasmatronic tinnitus after listening to this again and again forced into a filo relecto (peregrinus ubique !) to fantaseyeze again and again). Anything circles around the three (pour rire, of course) in this try-an-gulation hear. Outfolding itself three folded circling around the three in a deeply diving threeabolic perichoresis immaterializing in Joseph Nechvatal (words), Rhys Chatham (sounds), and Black Sifichi (voice) - "semi-circular configuration eyes dance strewn with irises (...) in one cathartic expenditure (...) less ego more art” (Nechvatal).

At once, once and for all three folded - written, spoken, set to music, ohr: it is simply a verbivocovisual inout-folding of Joseph Nechvatal's amazing erecticlectic, obseen, ink squirting 2015 book poem bearing the same title (Ah, logos spermatikos, neyes to hear from you again after all these years). I even pulled these three folded lacanian formula-gloves - also an anagram of ears, if you like trance-lingual forcings - R(hys)-S(ifichi)-I(osef) or I(osef)-R(hys)-S(ifichi) over my writing hand. Words gave birth to sounds, sounds became gloves handing over words to the ears and deeper towards the belly button (hey, omphalos !)- “genitals in hand (...) atmosphere dark and slumberous” (Nechvatal) - open for further re:joyce-ments: Lord help you, Maria, full of grease, the load is with me.

Id is in any case an ultra-interesting subtle escalation or coalescence of sounds, words, timbres and voices - “infinite transformative possibilities clothed only in the sound”(Nechvatal). To use John Barth’s words:“escalation of echoing cycles into ascending spirals = estellation: the apotheosis of storys into stars”. And ohr Deleuze Guattari's "les forces d'un Cosmos énergétique, informel et immatériel". And Black Sifichi’s voice treyes to mirror or nail down all verbal microshiftings of Nechvatal’s proême from whispering, nervous babellings up to final orgiastic verbal f(l)ickerings and micro-stutterers:"disarray, disarray" (Nechvatal), la schize entre l’œil et le regard.

Accompaneared by the swirling, swelling, effulgent, haptophilic, hesitating, interstellar or retro-future-tronic, blanks-leaving and sometimes heavily uplifting, erecting or erected dionyseean sounds of Donnergott Rhys Chatham (Rise Chatham, rise !) de(ep)livering some kind of a much Younger Third Dream of the High Tension Line Stepdown Transformer circling cycling around - “waves of electronic energy and immaterial signals” (Nechvatal) - or tuba-trumpet-coloured-harmon-mutes sounds like in Nono’s late masterpiece Post-Prae-Ludium Per Donau (1987) trance-forming seamlessly into guitar-lyre-tronics and flute-like-twitters back and forth and vice versa letting “eyes dance to music of pipes and horns throngs of satyrs dance (...) into orbit around itself ecstatic in the generosity of self-loss (...) blackness begins to snicker with delight art as a vehicle for self-transcendence (...) spontaneously inventive vision a moment of  annihilation independently of time space” (Nechvatal).

(10/10 Admiration points)

[SKG]

(released on Entr'acte, August 2016) All quotes in orange font with (Nechvatal) are taken from: Joseph Nechvatal, Destroyer of Naivetés (New York: Punctum books 2015). Poem written by Joseph Nechvatal nechvatal.net. Poem performed by Black Sifichi blacksifichi.com. Music by Rhys Chatham rhyschatham.net  Edition of 300 copies

Order it here and now !

Sounds Reviewed #10/2016: The Julia Sound - Post-Creation (2015)

This is the impressive third release by The Julia Sound called "Post-Creation". The Julia Sound is always acting out surprisingly out of a foggy clair-obscur. This project is always at the edge of existing using secrecy and seclusion to generate a unique soudworld as if fallen out of time and space. In this sense The Julia Sound generates out-side sounds in the most friendly sense of the word. The Julia Sound has a deep and intense friendship with exteriority: he works simply outside of himself and out of his self. Reworking, recombining or deconstructing the obscure sounds of the 1980's in a feverish aural re-invention. Delivering haunted head(phones) music subversively replaying desperate and disenchanted desires and zentimental robotic psychocandy solitudes back into our own time-zone, hear and now !

In my first review in 2013 I described the soundworlds of The Julia Sound as intense scuba-diver-travelings through the thoughtful realms, undiscovered galaxies and reverb-pluriverses of minimal and obscure electronic music. And again The Julia Sound is reinventing himself here as a huge 1980's reading-writing-deleting machine or as a retro-futuristic signal repeater par excellence. He echoes and reinvents the dark outsider feedback laden electronics from the late 1970's to the early 1980's (say: The Jesus and the Mary Chain (the record uses Jim Reid's voice as an epigram), and eg. Dok-U-Ment, the japanese act Tolerance, Coum Transmissions, Bourbonese Qualk, Ptôse, James Chance and the Contortions, Glenn Branca, MFH) in a unique, refined and inventive manner as if trying to break the necks of possible dancers. It's re-fusion music or de-fusion music in all senses of the words ! The Julia Sound is a real master of musical re- and de-contextualizations .

In any case Post-Creation contains an anarchic cyborg chronotropic-stutterer, or an odd sonic cyberpunk clockwork. (De)humanized or exhumated buried voices (what a unique way to sing, again !) want to enter through piles of foggy feedback spheres (hey, Mizutani !) trying to avoid stalking guitar sounds to escape clubby nighttime drum-machine-time-space-grids. I remember relating his earlier works to Chris Carter and this is true here too and this project hovers or levitates over the BLACKEST EVER BLACK - entre autres - continent without ever landing of course. It would have belonged under the most hidden treasures of Tape Culture.

The Julia Sound places all of his re-invented pasts and futures in an immense post-creational acid-bath giving re-birth to an atmosphere of diabolic counter-creations or counter-cultures. Opening an unheard of nocturnal life of electronics, pain-coated sounds, saxophonic and other corrosions of conformities. It folds back in into sound what is so desperately missing in the globale Kulturindustrie: an act of resistance and subversive counter-culture.This is music for your headphones. Use your head and pump up the volume. Please support this outstandingly gifted project ! Please order some of these beautifully designed and hand numbered boxes (edition of 77, cf. my photos below). By the way, a new track is online on his bandcamp(links below).

(10/10 Admiration points)

[SKG]

Please support this project

HERE and HERE

Sounds Reviewed #9/2015: The Quash Wagon Reclusion - Introducing: A-Question-of-Will T'retett

"Introducing: A​-​Question​-​Of​-​Will T'retett"(bandcamp XI/2015) is the fourth release of The Quash Wagon Reclusion. And yes, it is - a question of will. And these are axeperimental sounds or axercises in aural axeiomatics. In the case you like to follow the weird mainstream substitution of "axe" for guitar. It is in any case axe-factor-music or enigma-music with primordially established rhythmic tribal drum grids, patterns or coordinate systems and counterrhythmic ("gegenrhythmische Unterbrechungen" - Hölderlin wrote this in his scribblings about Greek Tragedy) guitar interventions or mock-dialogical interruptions: le lisse contre le strié, peut-être or twin-riffings over pregiven neutral mock-consensual spaces. This project always works in between or works the in-between - a deleuzean inter-mezzo. This is not only a matter of music -- it's also matter of living: "C'est n'est pas seulement affaire de musique, mais de manière de vivre: c'est par vitesse et lenteur qu'on glisse entre les choses, qu'on se conjugue avec autre chose: on ne commence jamais, on ne fait jamais tabule rase, on se glisse entre, on entre au milieu, ou épouse ou on impose de rythmes." (Gilles Deleuze).

The Quash Wagon Reclusion thins out the Power Trio Aesthetics again this time together with its triangular-dialectical discoursive robotics or logics down to the surplus-value or better surminus-value (the below zero so to speak) of a guitar-guitar-drum-trio. Ripping out the bassplayer - evoking a trinity without trinity - or rather paralectical (Mark C. Taylor's word coined in his reading of Maurice Blanchot in his "Tears") guitar-twins with a differiffing dna. Maybe the word "trio" stutters already in the last word of the title. Is this the first powerless Power-Trio whispering: "YESWECAN'T add up as ONE without murder" ? Keep the following Derrida-formula in mind while listening: "Dès qu'il y a l'Un, il y a du meutre, de la blessure, du traumatisme. L'Un se garde de l'autre. Il se protège contre l'autre, mais dans le mouvement de cette jalouse violence, il comporte en lui-même, la gardant ainsi, l'altérité ou la différence à soi qui le fait Un. L'Un se fait violence.".

Since this seems to be a mock-trio here comes the third remark. This one is related to the conceptual networks that seem to inform the project's deepest intentions creating different spaces to live in - playful states without pregiven identities  instead of nationalstates. I read this in their urge to relocate themselves permanently. This time it is Kobe, Japan. Maybe it is a dangerous form of deterritorialization in the sense Deleuze and Guattari wrote about the "missing people" and the "earth" in their book "Mille Plateaux". Claire Colebrook sums this up in an essay about Deleuze/Guattari when she writes: "One might start to consider how the earth – not the world – might generate a people to come, a people without right, ownership or propriety. Such a call for a world in common without propriety, without identity and without nations and that would be beyond the world by thinking the forces of the earth would not be easy." In any case listen to one of the most important and thrilling projects around today  !!

Mosaic post-scriptum:"Autrui est toujours plus près de Dieu comme moi " (Maurice Blanchot).

(10/10 Admiration points)

[SKG]

Sounds Reviewed #8/2015: Noordwiijk - Sailor Boy II

Listening. Deep Listening. Listening to the sounds travelling back and forth in time and space. Listening to Noordwiijks's Sound-art "guiding you across the Atlantic Ocean accompanied by a young boy in 1952" (label text) moving around in dreamstate like a tiny and fragile microtonal bubble or atom. Listening to the sounds or echoes of the classical avantgarde music transpierced by contemporary electronics. 1952, what a year ! 2015, what a year, too ! 

Although there are melancholical and retrospective subtones implemented in the sounds of Noordwiijk the project can also maintain a close and constant proximity to the masters of contemporary electronics (let's say: Carter Tutti's 2007 masterpiece "Feral Vapours" and their allies up to Nik Void). It is a constant morphing in between classical avantgarde sounds and contemporary experimental music at work here. Consequently all sounds bear the signs of transformation, transition, disfiguration and transfiguration. An alchemistic mixing of real instrumental sounds with and through electronic production devices. You can sense a tension or the integration of subtle interfaces between usually divergent acoustical strata any second. Marvellous aural memories of a future past or a past future Jérémie Jones has invented here ! 

Microtonal shiftings and spectral sounds spelled out and re-orchestrated as re-evocations out of and into the deep aural and melancholic fogs of classical avantgarde music of the 195o/60's and beyond from Edgard Varèse's Ionisation or Amériques, Stockhausen's early tape- and later sound-manipulations, Ligeti's Lux aeterna, Giacinto Scelsi or Olivier Messiaen's Harawi to the most refined aural manipulations of the late live-electronic Luigi Nono, Pauline Oliveros' Deep Listening Project or Bill Fontana's beautiful sonic portraits. Jones has build up an infinitely rich dreamspace dissolving the borders between real instruments and electronic sounds and soundsources.

This is a poetic re-mapping and a feverish re-vitalization of avantgarde sounds. So don't miss it ! Please support this great soundartist (HERE and HERE). Already one of the best tapes this year and one of the best aural dreamspaces in a long time: an intellectual and sensual pleasure of the highest order. 

A document of Mon(t)-réal-ité, peut-être !
Highly recommended, in any case.

(10/10 Admiration points)

[SKG]

Listen like the snail :)

again ...

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) into 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)