This one from the redoubtable Derek Morton over at Furthernoise:
Matt Weston fires out another solo release on his 7272Music label. Not to be Taken Away is a brave set of compositions documenting Mr. Weston's electronic experimentation with live percussion improvisation. What for the listener "should be taken away" from these collections of tracks, is that Matt is attempting to work on a few different levels. Improv, extended technique and Free Music are just starting points. As a percussionist he uses the studio to ultimately frame his sonorities into realized pieces.
The first track, Home of the Railsplitter sputters to life with the sounds of distorted drums that may send the listener checking their cd or audio connections for a problem. It becomes apparent however, that the over saturation is on purpose as the sound quality shifts from distortion, to glitch and then over-driven again. Millions of Yeah squeals with dense feedback, while special panning is employed to emphasize the various harmonics and layers of noise. Headphones will enhance the experience here, or perhaps make this track less listenable depending on your threshold for musical cacophony.
The quirky Something Sensational in Every Issue introduces what sounds like primitive electronics and circuit bending overlaying recorded percussion and squashed through an unhealthy granular synthesis patch. The two very different sounds really come together in a playful way, in what is probably the most successful track on Not To be Taken...
Sing Like This oozes with frustration and anxiety as the circuit bent sounds get more cracked and broken up, its not a happy moment. If you made it this far, Weston lets up a bit with his straight forward Yeah to Slang. Well, straight forward in the sense that the track sounds like it is an unadulterated recording of a creaky cool live set, where the space of the room contributes to the mood and feel. It's a strong document of Weston's unique style, however a bit out place on the release. That's What I Want sends the listener back into freefall, with DJ like scratching that spins percussion samples back and forth: imagine Christian Marclay without recognizable sound bites of popular music culture. The rush of sound here is powerful and liberating, although a bit nauseating in a kind of artistically successful way. Ten minutes later, Transistor Radio ends the release in what sounds like a minimal reprise to Yeah To Slang.
A percussionist is usually valued by their sense of timing, but Mr. Weston explores sound art that lies just above a perceptual rhythmic chaos and I get the sense he enjoys messing with our ears.
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