Posts Tagged ‘Wiliam S Burroughs’

Dret Skivor – 5th March 2021

Christopher Nosnibor

Recently-launched Swedish label Dret Skivor has a fairly broad remit in its commitment to being ‘Locally focussed but stretching out to droneheads, noiseheads, ambientheads and weirdoheads across Scandinavia’. Stylistically, it’s pretty much a case of anything goes as long as it’s not remotely mainstream – but that certainly doesn’t mean that anything that’s vaguely accessible is off-limits, and Fern’s Inhibitory Shortcomings, described as ‘is a minimalistic digital multi-tracked adventure’ isn’t unpleasant or overtly challenging to any ear that’s accustomed to alternative electronica.

This set has something of a 90s vibe initially, a woozy wash of electronics, cracking static, and sampled dialogue and horns dominating the eclectic cut-up that is ‘in´ros50’. As such, while inspired granular looping, FM and different sampling techniques. AS such, while inspired by ‘the avant-garde music produced by the San Francisco Tape Center (among others) during the 1960’s’, William Burroughs’s tape experiments, as filtered through the prism of albums like Spare Ass Annie and Other Tales, produced with The Disposable Heroes of Hiphoprisy, also very much seem to inform the sonic collage pieces on offer here.

‘digi´al_r3alm pt1’ and counterpart ‘digi´al_r3alm pt2’ combine clacking, clattering tonal-based percussion with obscure oscillations and a static crackle like a downpour of rain: the latter drags down into gloomy, eerie atmospherics with a hesitant bass throb underpinning insectoid skitterings and dank sloshing washes that slop back and forth listelessly.

It’s a solid drum-based percussion that dominates the beginning of ‘dr3´_0032’ before the tape starts spooling backwards and everything gets sucked back towards it source.

None of the pieces are particularly long – only ‘digi´al_r3alm pt2’ exceeds four minutes – but each is rich in atmosphere and texture, packing in a dense array of sounds that collide against one another, bouncing off the wall of dark subterranean caverns of the mind to conjure some unsettling images. Flittering tweets and scraping squeaks abound, as do dripping sonic droplets that splash into spacious reverberations.

Closer ‘ou´ros51’ perhaps feel the most dislocated and dissonant of all of the compositions, a slow, decaying loop of an analgesic trip-hop beat and blooping laser sounds drags on repetitively, gradually slowing the senses to a slightly disorientated fog of drowsiness.

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