Keywords: Abstract, Noise, Avantgarde, Art Rock
Reviewer: Alex Spalding
Another Noise-Joy re-release, this one a harsh punknoise masterpiece that always kinda reminded me a little of the ferocity of early post-punk agitators This Heat, but with a totally modern energy.
The 1st track is ‘Excerpt From A Train Tantrum’, 34 seconds of bizarre percussion electronically treated with flange effects, sounding like they’re being recorded at the other end of some industrial tubing.
Next is ‘Spekled Prat’, featuring strange samples, piano, vocal box electronic shit, scattered drums and spoken word, all very lo-fi and abstract. Out of nowhere, the vocals get really heavy and harsh and the piano melody begins to gain a playful coherence of some sort. “I wanna die!” Absolute perfection. The track ends with a backward vocal clip and electronic sound.
‘How, Sunflask?’ starts with a tribal tom rhythm and adds… what could be some deranged person making noises, or birdcalls? Off kilter electronic sounds come in and then the vocals, which are between spoken and sung and in a manner that evokes Frank Zappa. Ridiculous and hypnotic, you won’t be able to turn your ears off. It gains intensity and then it simply ends.
Then it’s ‘Telegraph From Intelligence’, noisy industrial sounds and a thrashy lo-fi drum rhythm create cacophony alongside weirdo vocal samples and electronic whirring and buzzing. It’s a gaggle of abstract sound, highly engaging and disorienting at the same time.
‘Kill Kill Mockingbird’ begins with a distorted bit of vocal which then dissolves leaving us with a drum beat that is soon completely absorbed in electronic effects and noises, many of which are very sonically deep. The low fidelity of the record is almost like a trick of perception or veneer, there’s an amazing depth to this track that the production would have lead you to believe unlikely. Really wild shit!
After this is ‘The Man In The Planet’, more tribal drums, a wall of noise and electronic strangeness. The vocals, if they are there at all and not just illusory, are completely overridden with electronic bleeps and burbles. The track breaks into some kind of abstract electronoise modulation type thing for a while before swinging back into total chaos. The end is comprised of strange, electronic bird noise and deep, guttural throat noises.
‘Name Dropper: You (Tickle Me Elbows)’ is low, almost windy noise with cool electronic sounds and vocals echoing in the vastness of the background. There’s some recording input noise, hard to tell if accidental or intentional. This track is like an insane ride on a carriage that has been let go of it’s horses and now barrels out beyond our control into woods under shroud of night. The light of the moon only serves to cast itself on the frequent dangers; we sit in shock, our mouths agape at the perils surrounding us.
The final track is ‘Sciants-Ex-Con (Tickle Me Elbows)’, which is a subtle soundscape permeated by rustles of white noise, random clips of vocal gibberish / screams, electronic bits and pieces, and totally random drums and reverberate. After a while, some piano plays a sort of jazzy / bluesy, though more or less random refrain, later accompanied by a high-octave percussive sound.
This is a totally fascinating avantgarde EP that I’m sure you will enjoy… thus I think you might be benefited greatly by exposing yourself to it in it’s entirety. You can do so right over here: