Posts Tagged ‘Mortality Tables’

Nicholas Langley – ‘Matthew’s Hand’

Posted: 10 December 2024 in Reviews, Singles and EPs
Tags: , , , , , , , ,
0

Mortality Tables – 22nd November 2024

Christopher Nosnibor

Matthew’s Hand by Nicholas Langley is the twenty-fifth instalment in Mortality Tables’ LIFEFILES series, now in its third season. The principles of this ongoing project are simple: ‘Recordings of places, people, objects, moments in time, environments and quotidian events are shared with a range of artists working across different disciplines. Those artists are free to respond to the recordings in any way they like.’

Simple principles, but in actuality, giving free reign to the artist to respond to the source material offers near-infinite possibilities. And so it is that Nicholas Langley presents to six-minute pieces in the form of ‘Milton Keynes University Hospital, 3 April 2024’ and ‘Milton Keynes University Hospital, 17 April 2024’.

Label head Mat Smith provides the following context for the source material for this release: ‘On 2 April 2024, I fell over while walking near Smithfield Market on my way to work, and broke my hand. The two recordings used by Nicholas were both made at Milton Keynes University Hospital – the first while waiting for an x-ray that confirmed the fracture the following day, and then two weeks later while in the waiting room for the cast to be removed.’

I’ll spare the tale of the time I fell and broke my ribs and shredded my hand one night, but shall move to the point that for some of us, the reaction to an event which contains an element of shock and even mild trauma is to document it. Having photographed my bleeding palm, and recorded the horrendous roar of the oxygen machines which were installed in our living room for the final nights my wife was with us, I can only conclude that recording these things creates a separation which enables us to process them as being ‘media’, for wont of a better term, rather than the painful reality of our actual lives. I certainly prefer this rationale to the idea that it’s a sociopathic impulse to revel in experiences of trauma and pain.

‘Matthew’s Hand’ captures the ambient chatter and clatter of a waiting room, at least initially, before this fades out to be replaced with something that one might describe as echo-soaked abstract synth jazz. Langley applies the principles of dub reggae, but without the percussion. The sonic experience is in some ways like the lived experience of the waiting room, as the chatter dims into the distance and your head slowly swims in a sea of overwhelmed strangeness as you wish you were elsewhere.

Someone recounts the grim tale of someone who was close to a mortar explosion at the beginning of ‘A Mortar Went Off Near Him’, before heavy elongated, humming drones enter the mix, and Langley builds a dense soundscape of whistles, hums, and whooshes which owes as much to early 80s industrial as it does to more contemporary dark ambience. A monotonous throb emerges, and it’s overlaid with scrawls of feedback and sharp, needling treble. Ultimately, little happens over the course of its seven-minute duration but somehow, you feel the effect.

Taken together, the two tracks have an impact which somehow extends beyond their sound alone.

AA

a1808514016_10

Rupert Lally – Interzones

Posted: 30 November 2024 in Albums, Reviews
Tags: , , , , , , , , , , , ,
1

Mortality Tables – 29th November 2024

Christopher Nosnibor

Because life experience creates linguistic associations, for me, it’s impossible to see or hear the word ‘interzone’ without immediately thinking of William S. Burroughs. The title of a collection of short stories and ‘routines’ penned in the mid-1950s, Interzone was the working title of the seminal breakthrough novel Naked Lunch (1959), and the collection, published in 1990 consists of segments which failed to make the final cut. The pieces were written while Burroughs was living in Tangier, something of a haven for expat writers, including, perhaps most notably, Paul Bowles, but also polyartist and true inventor of the cut-up method, Brion Gyson. Burroughs described the city as an ‘interzone’, and it was indeed both an ‘international zone’, as the portmanteau implies, and a space between zones, outside of any single culture or jurisdiction, its administration divided between the US, French, Spanish, and English sectors, where ‘nothing is true, everything is permitted’. Of course, there are numerous other connotations, but this is what I’m bringing in terms of prececeptional baggage to this.

The accompanying notes certainly indicate that the album’s content holds up to these parallel positions: ‘Like its name implies, these are place of transiency. Intermediate places. In-between locations. Melting pots of different people and different ideas, constantly evolving as one thing collides with another, and another, and another.’

The album was initially recorded in 2022 as a solo work, but subsequently scrapped and rerecorded with a different collaborator on each composition. Collaborations do tend to bring out different aspects of an artist, and it should therefore be of no surprise that this suite of nine pieces, recorded between 2022 and 2024 in Switzerland, England, Luxembourg, France and Zimbabwe, is eclectic in its take on electronica.

As the bookending pieces, ‘Entry Visa’ and ‘Exit Visa’ indicate, travel, movement, and transition, are the key themes here. But this is not some pan-cultural pick ‘n’ mix grab-bag, and instead creates an experience which replicates the disorientation of travel. It’s difficult to articulate just how this sonic patchwork works, or quite how the experience feels. It’s not as if it lurches from techno to grunge, to opera, to thrash, and in this respect Lally’s works represent his ‘two inches of ivory’, so to speak. But within the realm of electronica, Interzones covers substantial ground.

‘Play Position’, featuring Salford Electronics, is a sample-packed exploratory work with a prominent beat, which contrasts considerably with the near-ambience of ‘A Stealth Approach’, featuring Scanner; contrasting further, Simon Fisher Turner brings a sort of drawling space-age country aspect to ‘Calmer’, before things take a spin toward out-and-out trance on the title track, and Karen Vogt’s airy, soft vocals on ‘Running Circles’ pull the album gently into hypnotic shoegaze territory. The album continues on this trajectory, sliding deeper into dark, gothy electropop with ‘Ripples’.

The insistent beat and overtly dance style of ‘Exit Visa’ makes for an unexpected change in direction – despite the fact that, by this point, nothing should be truly unexpected. The effect, however, is disorientating, and you find yourself wondering how you came from A to B over the duration of the album. It’s testament to both Lally’s compositional skills and his selection of contributors – as well as the album’s sequencing – that somehow, it flows and the transitions themselves are seamless, which only heightens the sense of moving between spaces with no real sense of how it came to pass. Vitally, Interzones is a subtly detailed work, with hidden depths and moments of genuine beauty.

AA

a2037434320_10

BMH – Sink Techno Song

Posted: 31 October 2024 in Reviews, Singles and EPs
Tags: , , , , , , , , ,
0

Mortality Tables – 25th October 2024

Christopher Nosnibor

Some time in the last decade or so, genre distinctions simply exploded to the point of obsolescence. People – many people, and I won’t deny that I’m not immune or above doing so – will spend endless hours quibbling over categories. Is it post-punk or goth? It is doom or stoner doom? Country, or Western? Or both? It does seem that the ever-fragmenting microgenre, once the domain of dance, with its infinite focus on detail, has more recently become a battleground within metal – but then, a friend recently described an act as being ‘Jungle adjacent’ and I felt my brain begin to swim. What I suppose I’m driving at is that artists themselves are breaking out of genre confines and the place we find ourselves now is a point at which anything goes. But listeners – not to mention labels and journalists – or perhaps especially labels and journalists – find themselves clawing desperately to define whatever it is. There have to be benchmarks, touchstones, comparisons. We’re simply not attenuated to music which doesn’t conform to some parameters or others. This is one of a number of reasons that I tend to try to focus my attention on what a work does, what it actually sounds like, the sensations and emotions it elicits and other more tangential provocations – because the way we respond to music tends to be personal, and instinctive, intuitive. One may react immediately, and enthusiastically to a punch in the guts from an overdriven guitar, or may instead feel a greater emotional stirring from something soft and delicate, be it an acoustic guitar, a harp, or a flute. In summation, one’s first instinct is not to assess whether or not those opening bars belong to a specific microgenre, at least when it comes to a ‘blind listening’ experience.

But then there’s always a spoiler, and here I find myself facing a ‘spontaneously-created acoustic punk techno EP made with a dripping tap’. What the hell do you do with that? How do you prepare for listening to something so far beyond the outer limits? Personally, I start by pouring a large vodka, and putting the light off.

The EP features four tracks; two versions of the title track, plus two versions of the longer ‘Water Sink Song’. The former centres around a relentless thudding beat, clearly derived from a dripping tap, with swishing, swashing, gurgling watery noises and other scraping and thumping and crashing incidentals. There’s nothing quite like taking the sounds from one’s surroundings and manipulating them in order to forge new sounds, and new sonic experiences. It’s life, but not was we know it. Or, perhaps it’s too close to life as we know it.

“Matt Jetten and I made the track in the sink at work,” says BMH’s Kate Bosworth. “The tap was leaking and we managed to get to it minutes before the engineer did. The original is in mono, but our mate Stuart Chapman (Terminal Optimism) suggested we ‘do a Beatles’ on it and bring it into stereo by duping and layering and adding effects etc. All in all, the process was very quick.”

‘Water Sink Song (End Dark Train 21st October 2024)’ features a haunting vocal which drifts mistily over a swampy swell and a thick wash of static, as well as more watery sounds, like heavy rain and swashing, glooping, the disconcerting sounds of ingress in a storm. The shuddering electronic rhythms call to mind Suicide, but with an esoteric folk twist; one can almost picture the performance of a pagan ritual at a stone circle in a torrential storm – but then stammering vocals cut through in a rising tide of mains hum and buzzing electricals. Synths buzz and crackle at the fade. The ‘Original’ version (17th October 2024) is more heavy rainfall and water running from a roofs onto gutters – or the sound of a number of men urinating hard onto a corrugated shed roof. Thuds, clatters, clanks, trickles and sprays, a bottle or jar filling at pace; the incidental sounds, the additional layers, are wet and uncomfortable.

It may be that my response is as much coloured – a hazy amber – by my recent experiences of a trip to Castlerigg stone circle in a saturating downpour, and a train journey whereby the train was rammed solid with rowdy football fans, who, unable to make their way to the broken toilets, resorted to urinating in water bottles and Costa coffee cups, which they left on luggage racks and on tables, while cheered on by mates passing more cans of cheap shit lager and a bottle of lager along the carriage.

Jetten’s vocals are breathy, semi-spoken, and there’s a sense that they’ve been recorded quietly in the bedroom of a flat or terrace, trying not to disturb the neighbours. There’s an element of triumph in the tone as Jetten announces the title, as if he’s utterly pumped by the experience – or something seedier.

As an experimental work that encapsulates the DIY ethos, this is a quality example of the kind of weirdness that can only happen independently. It’s perverse, and imaginative, and it’s different. Oh, and all proceeds go to Kidney Cancer UK.

AA

a4195200752_10

Mortality Tables – The Engineer

Posted: 19 June 2024 in Albums, Reviews
Tags: , , , , , , , , , ,
0

Mortality Tables – 16th June 2024

Sometimes, personal events drive creative work in a way which runs away from the artist. It ceases being first and foremost about ‘art’, and the need to expunge, to offload, to outpour takes precedent. It’s not a conscious thing, something planned: the fact is that creativity leads the way, and art is not something one necessarily can direct or determine – at least, not true art. Art happens in response to things, and oftentimes, the most powerful art is born from exploring the deepest, most intensely personal scenarios. Such explorations may not reveal a great universal truth, but then again, they may present something that’s unexpectedly relatable. And this is where we find ourselves with The Engineer.

Mat Smith has no ambitions of leading the country, and nor does his musical output seek to obfuscate his journey or his reality. The Engineer documents this reality, and I shall quote, quite comfortably, the press release which provides vital context here:

‘In 2012, writer and Mortality Tables founder Mat Smith (Electronic Sound, Clash, Further. wrote a short story, ‘The Engineer’. A work of fiction, the story was loosely based on his father, Jim Smith, a skilled mechanical engineer who had spent most of his adult life working in a factory in Stratford-upon-Avon. The Engineer represented Mat’s thoughts, feelings and fears about his father’s retirement.

‘The story was later narrated by author, producer, playwright and poet Barney Ashton-Bullock. 29 artists, working in the fields of sound art, electronic, experimental and contemporary jazz music, were then approached to provide a sound response to a thirty-second extract of Barney’s narration. The order in which they agreed to be involved determined which section of narration they would be asked to respond to.

‘The collated 29 responses were curated and recorded over the next two-and-a-half years and assembled into a single, 14-minute collage by James Edward Armstrong. Its sprawling, disjointed presentation of short, rapidly-replaced ideas is intended to evoke the devastating confusion of Alzheimer’s, which Mat’s father was diagnosed with in 2018.’

This is about as intense and personal as it gets, and I’d like to think that this well-crafted work makes for a fitting homage. The sleeve image depicts a teenage Jim Smith on Margate’s Promenade in the 1950s, and the narrative tells the story based on his life against a shifting sonic backdrop.

On the surface, it’s a quite charming work. But it’s also sad, a tale of the way the ageing process is one of decline. And as the story progresses, a different kind of decline becomes the focus. It’s also a narrative of the way work has a way of stealing life away, especially for the manual worker. It also speaks of the difficulty of relationships, emotional disconnection, and ultimately faces the issue of mortality in the most real and matter-of-fact way. Time passes, and it passes far too fast. When you reach a certain age, every birthday gives pause for thought, and every picture gives rise to a pang of sadness. Even the passage of a year or two… how do you compute? How do you deal?

It seems that many simply don’t: I often hear or read people remark how people dying – and they die, they don’t pass, although hardly anyone ever says or writes it – people dying in their 60s or even early 70s is ‘no age’ or how they were ‘taken too soon’. I struggle with this. People have a finite time, and I speak from painful personal experience when I write that I feel that it’s quality of time which counts most. To witness a slow degeneration tends to be far more painful for those around the person experiencing it. Alzheimer’s is a cruel disease, and all profits from this release are going to the Alzheimer’s Society. This is to be applauded, of course, but not simply for its charitability, but because of its art.

The Engineer may only be fourteen minutes in duration but represents twelve years in the making, and the input of more than thirty people in various capacities. In short, it’s an immense project, and the amount of time and energy poured into such a complex, detailed work is immeasurable.

The narrator starts out feeling vaguely AI, but in no time, we come to feel a connection with poet Barney Ashton-Bullock’s delivery. It’s crisp and clear, and in some respects has BBC documentary commentary. Its power derives from its simplicity: the narrative itself is straightforward and linear. Its sonic backdrop is not, and it’s disorientating, and at times uncomfortable, incongruous, at odds with the point of the narrative with which it’s paired. The sounds behind the narrative range from grinding, churning industrial din to woozy blooping electronica and shuffling disco and is altogether less linear, mutating over the course of the piece. It will leave you feeling disorientated, it will leave you feeling harrowed, possibly even stunned, and drained. But this is as it should be. The Engineer is ambitious, and a quite remarkable work.

AA

a0182982649_10

BMH – Killigrew

Posted: 13 June 2024 in Singles and EPs
Tags: , , , , , , , , , , , ,
0

Mortality Tables – 7th June 2024

Christopher Nosnibor

Mortality Tables have continued to release titles from their ‘Life Files’ series at a remarkable rate, with instalments 18 and 19 landing in May, and hot on their proverbial heels, this, number 20, in the first week of June.

The premise remains consistent, namely ‘Recordings of places, people, objects, moments in time, environments and quotidian events [which] are shared with a range of artists working across different disciplines. Those artists are free to respond to the recordings in any way they like. And so, as ever, the field recordings, courtesy of Mortality Tables main man Mat Smith provide the foundation and inspiration.

Killiegrew Monument is a peculiar thing. Located in Falmouth, and intended as a memorial to the last surviving member of the Cornish family, the monument is a sharp obelisk constructed in 1738. It looks altogether more contemporary, and ultimately anomalous with its surroundings. And one might say that this release is similarly anomalous. I can imagine that beholding this curious construction would inspire an array or reactions. But why the fuck would you play a stone monument with a sharp stone? Is that really one of the responses you’d likely have to coming face to face with such a construction? Well, perhaps, if you’re possessed of an avant-garde mindset, whereby instead of reflecting on the origins of The Wind in the Willows, you find yourself contemplating ways of making unusual noises.

Once again, when it comes to the ‘Life Files’ series on Mortality Tables, we don’t know what the source materials actually sound like.

‘Killigrew Monument Played With A Sharp Stone (Part One)’ is an odd sound work: there’s chatter and ambient drift and scratches and shuffles and scrapes, but what on earth is going on? Seagulls wheeling and cawing – and on those squawks the sound echoes and reverberates, and the collage of sound collides with a strange rendition of ‘One, two, three four five, once I caught a fish alive’.

There’s lots of processed echo and cawing gulls at the start of ‘Killigrew Monument Played With A Sharp Stone (Part Two)’, as well, and it does, in some respects, sound like someone crooning abstractly into a child’s echo mic just to see how it sounds. The longer of the two pieces, at almost thirteen minutes in duration, it creates a deeply strange and disorientating atmosphere, which is likely evocative of this curious monument, which stands out of time and out of keeping with its surroundings as a testament to human folly, and, ultimately to vanity.

Too abstract to be ‘songs’, too much happening to be ‘ambient’, the result is a haunting and somewhat disorientating soundwork of a rare quality.

AA

a4230686863_10

boycalledcrow – Kullu

Posted: 4 May 2024 in Albums, Reviews
Tags: , , , , , ,
0

Mortality Tables – 3rd May 2024

Christopher Nosnibor

As much as this is an album it’s an historical document, and one they’ve had to blow the dust off ahead of its release. Kullu was recorded by Carl M Knott, aka Boycalledcrow, as a series of field recordings as he traversed India in 2005 and 2006.

As the accompanying notes explain, ‘The album is an audio travelogue of Knott’s travels through India in 2005 and 2006, just after he’d graduated. That journey was part of Knott’s concerted efforts to overcome the intense feelings of stress and anxiety that had gnawed away at him throughout his adolescence. Along the way, he documented his travels in a blog and accumulated countless memory cards of photos and videos.’

Life has a habit of delaying projects, of getting in the way (I have a number of book-length projects which I embarked upon circa 2010 which are languishing, incomplete, on my hard drive, and have every sympathy). When a project has lain so long, has been placed on a backburner, or whatever else, how viable is it after eighteen years? Is it really worth resurrecting? Yes. Always, and especially if / when it’s personal.

You read and hear often talk of ‘closure’, and usually it’s in relation to a bereavement or a specific trauma. But life is trauma: a path strewn with rocks of trauma to trip you unexpectedly.

Kullu is a road trip, a narrative, and also an exorcism, a sequence of processing, a coming to terms.

More than anything – and any critic’s outlook is limited to their experience – I’m struck by the range of sounds and the way in which Kullu is an album that expands over so much ground. At the outset, the beats are to the fore and Joujouka come to mind initially, as percussion thunders loud and hard, but before long, things start to melt and dissolve into entirely less form-shaped compositions. Twisting between ambience and various shades of dissonance and slow-shifting pulsations, Kullu grates and scrapes its way through a twisted journey of difference, of fresh terrains, ranging from ominous vocal and semi-orchestral compositions like ‘Kanashi’, to clanging, clattering, altered and warping. There’s a lot going on and I sometimes wonder if I’m equipped to cover this. But ultimately there is always room

Kullu presents all the moods, all the vibes, all the breadth of experience. It’s often discordant and difficult, and that’s as it should be.

AA

a2597800960_10

Mat Smith – Central Park: A Picture In Sounds (Performance #2)

Posted: 12 March 2024 in Reviews, Singles and EPs
Tags: , , , , , , , ,
0

Mortality Tables – 8th March 2024

Christopher Nosnibor

Mortality Tables once again bring us a release that’s deeply immersed in the spirit of the avant-garde, and about setting defined parameters within which a project must function. When it comes to such things, it’s not about dictating restrictions, but about providing focus. Not all artists like to work to guidelines, although a prompt can open infinite possibilities for interpretation, and as such, there’s creative potential in working in such a way. And so it is that, as the accompanying notes explain, ‘Central Park: A Picture-In-Sounds is a site-specific performance piece, for one or more performers aged between ten and 95 years old. It is a tribute to the multi-disciplinary work of Charles Ives that will be published in 2024.’ We go on to learn that ‘To execute the piece, each performer will refer to a map of Central Park divided into areas representing the life expectancies listed in an 1874 US insurance industry mortality table. Each performer will identify an area of the Park corresponding to their life expectancy in 1874 and make a field recording lasting precisely eight minutes and thirty seconds.’

These are some highly specific instructions, but, once there, what performers are essentially looking at is eight and a half minutes to express as they feel appropriate, and of course, here, the possibilities are near-limitless. How one responds to a setting, a time, a space is, after all, a purely personal thing. Just as no two people’s lived experiences are the same, so no two responses will be identical.

This is a document of Mat Smith’s second performance, recorded on. 9 February 2024, at 16:13.

His own commentary is illuminating, and merits citation here, for context:

‘I was 47 years old when I performed ‘Central Park: A Picture-In-Sounds’ for the second time. Although I was a year older, when I looked at the life expectancies table and cross-referenced that with my divided Central Park map, it indicated that I should once again perform the piece near Strawberry Fields… The character of a place is in a continual state of mutability, and that was evident when I began the piece. It was a different season, the trees were barren and sleeping, snowdrops were springing up everywhere, and there were significantly more people in the park than the day I performed the piece in June the previous year. A carpet of dry leaves covered the area I set myself up in, crispy underfoot, waiting to crumble into dust.’

He recounts how ‘Someone at the John Lennon memorial began singing. Somewhere near the path, a street musician with what sounded like an amplified violin began playing a rendition of ‘Jingle Bells’, even though Christmas was retreating rapidly into the past. In between, he would play a plaintive wistful little coda that seemed so at odds with the relatively gleeful ‘Jingle Bells’. Often, his playing is accompanied by the harsh ringing bells of bikes as they whizz along the bike paths…’

His narrative creates a vivid – and moving – picture of the scene. It’s easy to think of these kind of performances taking place either with some sort of ‘arrangement’ and a cluster of observers who are ‘in the know’ gathered as witnesses, or in seclusion; it’s not so obvious to consider the actuality of creating sonic art in a public space, and all of the randomness and happenstance which that entails.

However, Central Park: A Picture In Sounds (Performance #2) captures this perfectly. The combination of the breeze and traffic creates a constant roar in the background. Birds chirp in abundance – far more than one might associate with February, at least here in England – and dogs yap and bark constantly. You can’t move for bloody dogs anywhere, in parks in fields, post-pandemic, it seems as if there are more dogs than people. But for all the ambience, all the thronging noise – and this really does remind that even quiet spaces really aren’t in large cities, with blaring radios and chatter and that constant roar – this is mostly eight and a half minutes of ‘Jingle Bells’ being played on a fiddle. In February. Bloody buskers.

But, as a snapshot field recording, Central Park: A Picture In Sounds (Performance #2), is absolutely alive, buzzing, bustling, busy – a slice of life.

AA

a3856078691_10

Ergo Phizmiz –The Tin Drummer Has Collapsed

Posted: 18 February 2024 in Reviews, Singles and EPs
Tags: , , , , , ,
1

Mortality Tables – 16th February 2024

Christopher Nosnibor

For myriad reasons, my head’s a shed of late, and I’ve been doing this for coming up for sixteen years now, cranking out reviews on a more or less daily basis, sometimes during certain spells up to five or six in a day and taking in three or four live shows in a week, on top of dayjob and, since 2011, parenting. So I can be forgiven for not remembering every artist I’ve covered, let alone the details. But somewhere along the way, on seeing this arrive in my inbox, I recall that I have written about Ergo Phizmiz. I have no idea what I wrote, or when, whether I dug it or not, what kind of music it was, but I did write. Ergo Phizmiz isn’t a name one forgets easily, after all.

And so it is that ‘The Tin Drummer has Collapsed’ is the sixth release in the second season of Mortality Tables’ ‘LIFEFILES’ series, a series of singles whereby ‘Recordings of places, people, objects, moments in time, environments and quotidian events are shared with a range of artists working with sound. Those artists are then free to respond to the recordings in any way they like, either through manipulation or composition.’

Seems I’ve got some catching up to so, since, ‘Season 01 of the LIFEFILES series commenced in March 2023 with contributions from Simon Fisher Turner, Veryan, Xqui, Rupert Lally, Andrew Spackman and Dave Clarkson,’ and ‘Season 02 commenced in September 2023 with contributions so far from Audio Obscura, Todeskino, boycalledcrow, Simon Fisher Turner, Maps and Ergo Phizmiz.’

The one thing about arriving at a late point in a series and not even in the first season of singles, over a TV series is that there’s no cause for consternation over the plot arc or who the characters are or their back-stories. A single is a single, and it should, by its nature, stand alone, free of the context of series or album, and ‘The Tin Drummer has Collapsed’ does.

As the accompanying notes inform us, ‘The following three source sounds were chosen at random:

1. Loud bass music played from a car at the Akeman Inn, Bucks (21.06.2021)

2. A rubber lid stretched across a ramekin (07.07.2022)

3. Seren playing an old acoustic guitar (01.11.2023)’

Phizmiz’s response is to hurl them all together at random, too. ‘The Tin Drummer has Collapsed’ begins with a roaring barrage of noise, the roaring thrum of an engine and what I understand to be ‘loud bass music’. On ‘The Tin Drummer has Collapsed’, Phizmiz doesn’t collage or overlap the source materials – which would likely have produced an utterly head-smashing cacophony – instead favouring a different kind of cut-up method, akin to the ‘drop-in’ method devised by Burroughs and Gysin, whereby the different segments are dropped in, ‘randomly’. The sources follow one another, and it’s a haphazard-sounding patchwork of unrelated sounds, although the rubber lid and acoustic guitar aren’t as different as one might anticipate.

‘The Tin Drummer has Collapsed’ is strange, and interesting, and as an experimental assemblage, it isn’t designed to be accessible or musical, or conform to any conventional expectations of a ‘single’. This is nothing more and nothing less than an artistic response to a set of parameters set as part of an experiment – and one that’s novel in its directness and simplicity.

AA

a1252428713_10

Newer Entries