Genre: Noise / Drone

Track Listing:

01 Ѓ
02 Ҹ
03 Џ
04 Ә
05 Ю
06 Ћ
07 Ъ
08 Д


I have never really liked noise music, basically because we must start from a basic conception, noise is the most primitive form of sound, noise music is a regression, a return to the primordial source of sound. Now some may argue that noise is more authentic, probably true, but primitive nevertheless, and with primitive multiple references come to mind: Monolithic, limited, ambiguous, formless...not to mention boring. The first music ever created was noise, rocks hitting rocks, bones rasping, objects crawling, man had not enough ability to synthesize notes yet. Tribal music is an advancement, rhythm is rationalized at this point and its able to be reproduced, rhythm is recognized then as a constant in all the movements within universe, the notion of harmony will later born from this principle. Harmonies instead are a step ahead in the evolution of music, an estrangement from our primitive days, the complex order within nature is dissected through mathematics, the scales of sounds are appreciated. It’s the twilight of ideas in a way.

Ok, I like noise music, cacophony may be interesting but only if added to a context as its content and limited possibility of expression can only be expanded with the surroundings in where the author wants to locate them. In synthesis, noise may evocate not what the author wants (Unless he creates a form whether is it rhythmic or melodic to direct his intention and thus obliterate the absolute within the orthodox noise formula), but what the listener can. Noise for noise is lame, it’s only intended to seduce neurotic harmony haters and snobbish auralists presuming of their incredible masochistic capability to resist ear ache.

In a way, noise it’s the more subjective exposition from the aural world therefore the principle from abstraction in terms of music, noise peremptorily needs backgrounds, and these are often associated with melody or rhythm, no absolute cacophonous ensemble may survive with just noise abstractions. The noise ensemble we have in here is an Argentine trio, formed by Alan Courtis , Fernando Perales and Charly Zaragoza. The work we have in here was conceived in 2007 but it will take a year to find the Zhelozobeton to be released, important to highlight the fact that this work was conceived and recorded in Argentina and it really shows how this country has become a landmark for the rest of the continent in what refers to different music and sonic art. They worship noise really close to the orthodox formula, exploring its limits and centre and ultimately marauding with simplistic notation and rhythm, which ultimately constitutes their salvation. Their investigation is formulated around the premise of the timbric possibilities applied to noise; in this sense their noise conception underlies the minimal side. The guitar that will constitute the main element where they will dig to find the form for their noise will not suffer from external electronic effects to enhance or manipulate its texture; it will be just a constant exploration of feedback and the amount and amplitude of sound trails that will get behind it. Drones are used but only to fully extend the feedback echo and to maintain a wall of sound at will that leads to gigantic clouds of static power. Their constructions are atonal with a fluent course guiding them, sort of a vibrant abstractionism, ultimately remitting to dense electro acoustic magnetisms and an organic interior.

First half of the work is very nebulous and shares sensibilities with Aidan Baker’s investigations on similar grounds, but they separate definitive ways in the external aspects that constitutes their body of sound, apparently with Ül the guitar play in itself is not relevant only the sound manifestation and they gets sided by strange field recordings that gives the sound structure an strange aspect that can be associated with an organic naturalness that lacks any type of feeling association, pure magnetic resonance. The guitar reverberation gets so obsequent at times that the amplifiers produce additional noise as product of the wave bounce over the microphones, I am not sure if this aspect was premeditated or just an accident though. Some songs manifest something resembling as an attempt to proper riffs but it may be just reverberation from the feedback and drone manipulation. As a whole the album is calmed, nevertheless raw and only the sixth and seventh track sets will assault with an emphasis on low toned experimentation, a lot more intense and shaking than the previous set.

As a whole the work resumes a defined experimental quest, a dedicated compromise with sound experimentation, squeezing the juice from the guitar sound in order to emancipate the hidden demons from the most basic nature, formless elementals made of noise, the electronic participation for this task is appreciated but its only relevant for the delineation of the work, to give a little context, to suggest amongst the noise creation, in that sense the work doesn’t fall in the often snobbish arrogance of the paradigm that follows the “noise for noise” operation, instead takes a form, the form that their sound experimentation can give and a context, the subtle additions they spill over the aural manifestation. If you like Drone guitar pushing further the frontiers of what is possible beyond simple atmospheres or walls of sound, you’ll like it.