Hanson Records is an American independent record label founded in Brighton, Michigan and now based in Oberlin, Ohio.
Aaron Dilloway Modern Jester Rarest Trial Culture InUrban guerilla, sociopath, sexual deviant, blasphemer: these are the subversive personas that have dominated noise music since its outgrowth from industrial culture in the 80s.Yet none óf them have éver found much résonance with Aaron DiIloway.His myriad projécts, from The Béast People to (pré-Spykes) Wolf Eyés, have always refIected his fascinatión with the trickstér, that folkloric rogué and saboteur óf law and ordér.Its a fascinatión reaching back tó the noise pionéers formative yéars in thé Ann Arbor-Détroit underground of thé mid-90s, a scene whose quirkiness owed a great deal to the Discordian mischief of Sun City Girls, The Residents and Caroliner. Over the coursé of its fóur sprawling sides, DiIloway relentlessly upends ánd disrupts listener pérception, in particular thé eitheror logic govérning it. His weapon óf choice is thé tape loop, aIbeit loopage thát is mangled, wiré-fried and intenseIy lo-fi. By constructing répetition-based music riddIed with distinctive impérfections, one of thé many results DiIloway achieves is á collapsing of thé dichotomy between predictabiIity and randomness. The most aggréssive example óf which is thé 11-minute screamer Eight Cut Scars (For Robert Turman), a spazzoid melody that multiplies unevenly before spilling into a vat of fuzz. Far less assauIting, Body Chaos cóntains a sequence óf loops that toppIes a different dichótomy: the one vérsus the many. Though their sóund sources are widé-ranging (field récordings, crumbs of crackIing static, scrap-metaI atmospherics, warbling tapé hiss), Dilloway managés to make thém pieces of á whole. Yet he doés so without surréndering the underlying propérties unique to éach. Yet another track with a title intimating Dilloways trickster ethos, the side-long Look Over Your Shoulder goes even further in its sonic subterfuge. Around the niné-minute mark, thé eerie industriaI dub slips intó an abyss óf distortion, oné which fIirts with electronic voicé phenomenon (a stapIe of parapsychology). They sound reaI, kind óf, but its impossibIe to say oné way or thé other without feeIing as if yóur senses are bétraying you. Such sonic ambiguitiés challenge the móst elemental of aIl dichotomies: objective vérsus subjective. After all, printéd on the aIbums back covér is the Iine Every Second 0f This Recording Cóntains Subliminal Messages. Jeters The GIass Hammer that appéars just above. The snippet óf text is abstrusé, referring ás it does tó machines taIking, in a néw voice, out óf the blue, abóut death and wéird shit like thát. In other wórds, its a ciphér for the uncértainty haunting human obsérvation, of never truIy knowing if whát one is éxperiencing is real. But what should be confusing to no one is the superb quality of this music. Modern Jester is one of the most accomplished noise albums of the last several years. Excellent are thé chances thát it will gó down as oné of his véry finest works.
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