Notice’s admiration of Kevin and Jacob’s work goes back to circa 2008, with Kevin’s album with Tetuzi Akiyama and Christian Kiefer on the much-loved Digitalis Industries, and Jacob’s album with Tony Dryer and Jack Wright on Bug Incision Records. Kevin and Jacob engage with the instrument in an entirely unrelenting way, traversing textural, pointillist sections, as well as rippling metallic drones. McLaughlinĮrosion is a sprawling yet focused love affair with the bass drum, allowing myriad objects to playfully interact with its grand form. They are sent from a recondite artist who may well disappear before you receive them, so there's no time to waste." - Jesse Goin / Crow With No Mouth
JERRY RIVERA DISCOGRAFIA DESCARGAR SERIES
These tensions, as well as the fine structural drift McLaughlin is patient enough to permit, make the Echolocation series a fluid one, without a start or an end. Echolocation #5 should be heard as an installation in a big-hearted work, issuing from a musician with an immense gift for subtle music. Often McLaughlin's loops gather, in small enough increments to avoid overt, ham-fisted drama, a strong sense of the ominous. "Echolocation #5 extends McLaughlin's exploration of the elegiac and the dirge, adding some crunchy, roiling passages as well. Rich chords swell into deeply contemplative passages that are gradually stripped away. Stretches of silence, and windblown expanses. The pieces reflect the environment in which they were composed, tight-knit and rural they mass like storm clouds, and then are barely there, leaving just the fluttering of a distant echo. This sense of pacing and care given to every moment is a crucial element of McLaughlin’s work, and it’s deeply attuned here. Focused on tape loops, layers of delay, and some chordal forms, each piece is meticulously and methodically built, with each sonic element given its due. Following releases on Digitalis and Gift Tapes, #5 also continues the organic and thoughtful work of his duo Loud & Sad. This is Nathan McLaughlin’s latest installment of his Echolocation series. Recorded and mixed by Ian McColm, New Haven CT, 2019. Both musicians are capable of crossing over into taught bursts of noise, but on Butterfly Knife, they relish in surfing an intense pre-spillover zone, the two performers communicating in combinations of droning static in addition to weirdly generous bouts of silence. Zach Rowden, a New Havener, utilizes controlled and unaltered contrabass scrapes, stabs, and squalls to pry into the recording space, conversing and engaging with Lee's honed aural language. Decoupling breath, mouth, voice, body, and recording apparatus, she supplements a wide variety of techniques with daringly controlled mic feedback. Charmaine Lee, based in New York by way of Sydney, is known for her unique and playfully intense work in what she very aptly describes as “vocal expression”, forging erosions within deft personal performance. “Butterfly Knife” finds two vital musicians in the contemporary music landscape releasing their first duo album together, despite collaborating in a live context numerous times. Artwork by Sludge Thunder“A Want” contains a sample from “untitled” by Owen Sanger. Music this honest and also so carefully crafted is a true treasure, and A Need/A Want is a testament to musicians honing their visions in a very unique way. Using text-to-voice and largely unprocessed singing, the duo's lyrics present a refreshing and striking potency: “I’ve only been there once and only for a little while she walked like lavender swaying, leaning…”. Bizarre shards of Yska's electric guitar permeate Lucy’s deft and supple production techniques as the sounds contained throughout the two pieces produce moments of confusion, bliss, and catharsis. For her first collaboration, A Need/A Want, she is joined by Philadelphia-based guitarist and lyricist Yska.
When Notice first heard Lucy’s music, we were struck by its incredible honesty, vulnerability, and originality. Lucy Liyou’s music carries with it deeply personal poetry, in a literal and metaphorical sense, conveyed using sound collage, noise, field recordings, and abstracted pop tendencies.
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