Keywords: Noise, Electro, Breakcore, Experimental
Reviewer: Alex Spalding
I received this album for release on the 1st of October in 2007. Judging from the name of the artist and the album’s title itself I was totally expecting it to be yet another harsh noise album, not that there’s anything wrong with that. I especially loved blasting my eardrums with loud noise and shit back then. But, it wasn’t… it was something completely different, actually. Something really kind of fucking cool that blew me away at the time, even though most of the tracks here are short and have that sense of possibly being incomplete. I still put it on to this day and wanted to make sure I shared it with you, loyal readers of Yeah I Know It Sucks. It is for you, whom the bell tolls. You are the great masters who make the grass green. You also need to stop throwing your cigarette butts into our yard. Somebody’s got to clean that shit up and it’s not going to be me anymore, god damn it. We’re practically swimming in them!
The 1st track is ‘Tokyo’. It begins with a sort of deep xylophone-esque melody and adds a sliding sine wave lead over the top. A beat comes in, gets a bit louder and more fleshed out as it goes, then it replaced with an almost industrial breakbeat while a buzzy synth beeps on and on. Electro modulations come in, then heavy-on-the-resonance jungle breaks fade into the mix, as well as vocal clips, and arpeggios flutter over the top. The mixing is pretty pro, too. It doesn’t really evoke a sense of Tokyo for me, though, as typically any track referencing Nippon tends to. But, that’s really not important I think.
Next is ‘Careless Consideration’, featuring highly filtered techstep breaks and lovely chill sounds, wisps of noise… more clipped up vocal samples are added when the beat filtering clears up and everything sounds more full. There are crisp bell tones reverberating out, and after the beat drops off these disharmonic digital sounds come in. The rhythms that follow are a bit more fierce, jagged and edit-obsessed, steam-rolling your brain. The melodies become progressively more sweet sounding and echoey, too. I don’t know what it means to carelessly consider something… I think to consider often means to care, in some roundabout way. Otherwise, would you even be considering?
‘Ksil O Phonor’ starts off with a simple break, mixed low, and some windchimish melodies that get pitchshifted occasionally and treated with strange effects. It’s relatively short.
Then it’s ‘Black Diva & Fat Albert‘, bringing the pizzicato strings that almost sound slightly distorted. It gets a big beat type feel going with a slight IDM element in the way it’s cut up. Timpanis ring out, it’s kinda orchestral. Bombastic, even.
‘Untitled (Ibu Processo Rmx)’ comes up afterward, broken glass and the unmistakeable sounds of stuff getting banged on are arranged in a makeshift rhythm while dubby chip tone melodies come out. Then there’s what sounds like a 909 added to create a more recognizable groove, but the rhythms seem to drop in and out. A lot of the melodies and sounds are very nice, there’s what could be some kind of analog lead synth. More and more sounds seem to pile upon each other in harmony until the end of the track.
After that is ‘There’s A Monster At My Window’, which has a really odd whistling analog rhythm with digital hums and reverberations going on, like several household appliances singing a song while their owners are out at work or whatever. Toward the end it almost begins to sound like a fully electronic free jazz session. There had better never be a monster at my window, or I’ll be pissed. I guess it would be ok if it was a cool monster that just wanted to hang out. I’d probably play it this track just so we could have a laugh about the synchronicity of our situation with the title.
‘Dancesylvania’ comes in with a distorted, modulated drone and adds screamy noise on top of it. A music box melody begins playing, and that’s kind of nice… in a weird juxtaposition with the rest of the sounds… then the string comes in and the track seems to make slightly more sense. A semi-broken beat enters the mix, quickly torn away and replaced with one that is way more danceable. Loving the sounds here, as well as the Dracula “mwa ha ha ha” sample + screams, and cheese b-horror organ. Really great track!
‘Dcadnz’ and another analog percussion groove and adds shots of white noise and other sound effects… low wah sine tones come in later, adding some more bass, while the rhythms become more erratic. It gradually becomes more melodic and heavy with distorted and filtered-sounding bass. A lot of the later sounds remind me of chiptune a touch, but without the lo-fi aspect.
‘W.a.i.s.s.e./A.i.n.w.a.’, aside from being an acronym for what I haven’t the slightest clue, is also an interesting track that features slightly distorted, digital sounding bell tones that eventually give way to an electronic tick and then a downtempo and eclectic electro break and really lovely melodic tones in the high frequencies. The beat fleshes out a bit and vocal synth-type sounds get acheincorporated into the rhythm.
The last track on the album is also my absolute favourite here, as well as being one of my favourite all-time pieces of sound ever to come out on Noise-Joy. ‘We Both Cried When He Died’ is a short, lo-fi depressive piece comprised of prog-style guitar and vibraphone that feels warped in places. The sound profile is kind of complex for how minimal the use of sound is. It reminds me a bit of some of Vincent Gallo’s solo work.
Anyway, I hope you enjoy this album… you can hear/download it at the, uh…
… oh, right, the link was what I was trying to think of. It’s just down here.