undRess Beton.
suRRism will make you find the gap_ suRRealism glasses
The following Review is by Lee Kwo:
Under Notorious SONIC effects/
undRess Beton
Tarentaliogy Defloration
this music these sounds and noises these orchestration of often intangible moments of hellucinatory sound images are at the edge of the abyss of catastrophe/The GAP between the synapse firing its chemical reactions flooding neuron blood and cells with reactions and fractures of memory from interstellar voyages violates the perspective of expectations to hear the ordinary beats and re-mixes of contemporary music compositions/ So what happens when we turn on the machines of Jaan Patterson and giving them no instructions set sound information free to express its economy of circuitry?/ What happens indeed/ In jaan's own words " I provide technical support of instructions of bypassed spontaneous happening compressed into smoking illusions of rampant dissonance in which the impossible music is the basis of my intention and being/ I document the environment and express the myriad of found collages of sound and feed them into the machine to see what happens/ Improvision and extroversion are they only limitations I bring to the creation of my polyphonic compositions" I make my inner journeys that I can only measure with my emotions "/ If information is pattern then randomness is non pattern/ the complexity of these tracks combine the two phenomenon in a paradox leading order/disorder to a greater level of complexity/ jaan's music is a series of informational pulses creating intense anxiety that erupts when the perceived limits of the ear are breached/
I am becoming human sampler so as to undermine and colonise from within the dominant icons of music culture and then to deform and distort them into becoming the strange and enigmatic/ Sound bordering on catastrophe threatening to rupture the smooth and unbroken surface of the otherness of music/ To morph with my machines into the rampant technique of synthetic sonic dissonance has infinite consequences and exposes the ear to the inflections of the space of sacrificial violence of noise becoming sound/ a trajectory of hellucination/ Intervals and strange swarms of silence/ each stop or interval enacts a closure of the composition that is both unexpected and unintended/ The machine begins and ends under its own volition/ I am a servo mechanism flicking switches and pushing sliders/ Indifference as a conceptual cognitive act drive sounds to pass through the chaotic perilous oscillation that something else is about to violate the sensibility of the as yet unheard/ There is a tension of expectation which loops through tracks creating a coherent aesthetics of technique/ What cannot or does not want to be heard?/an impatience with speed the taste for the velocity of the syntheziser at times is overwhelming/ accelerating into the imaginary future of cyborgs and alien beings/ The syntheziser illuminates the molecular structure of the tones and notes being executed/ We often hear what is happening at the sub atomic level/ The music of the Spheres is almost audible/ In Stellar Gum we hear the slow drone of the machinic post industrial vocal datatrash fading in and out of atomic solary latancy/ A throbbing depth anonymous until now seeps away into a leakage of ruptured attack and decay/ Sounds collide and collude in symbiosis of notational conspiracy/ the ear is stretched to the limits of hearing/unable to escape the assault of sound emeshing in a hovering fade out of a single enigmatic signal/ In track two Steve Handsome Bite piano traces out the melodic foreground to creshendo of strings slashing the track moving it towards reckless percussive interruptions/ and becoming more than an excess of locomation dies away to metallic percussive edge of resonance with swarm of energy which haunts the objects of performance/ Re-sounding drums flood the aural landscape with explosive dynamic of analogue floating time within pulsed digital time/ Exist Not/ multiple snare repeats echo chamber of marching feet who have long been silent salvaged from the wreckage of electric circuits/relies on insistent beats in the distance of resonant bass fills the sonic mechanism of noise reproduction/ Menda Is Back/ Cuban back beat radio signals the womens voices call from across the Atlantic ocean to the Islands of unknown acoustic terrain under the enigma of transparent distortion fills the gap of becoming noise ratio is zero intensity cut-up by oblivion of space empty of velocities circle of synthesizer codes/ Prudentia of Null/ drowned in the matter of swarms of synth tones fill the empty space with howl of electric human humm mantra chants the hieroglyphics of ancient silence wrought eating away the rust of elastic voice stretched to the depth of anonymous contrapuntal intoxication of rhythmic interludes/the poetry of motion/ Cluster of Grapes/ The elements of the dream I would like to sleep to stop the conscious rhythm of the preceding nights dream and will it be continued tonight /Violins falling in the moonlight not exposed to greater degrees of erratic drum machine to chorus of heartbeats remembered during the hours of waking/ Son of Doing/Gypsy violin solitude to Road Debris of cars on the autobahn/we recieve a message of noises and we respond in codes of electric current under trombone lead rhythm method taps out timing to point of delirium/ the refuse of the unknown sounds accelerate into an unknown future of crashnoise and empty spaces of limitation murmuring collapse of drum beats strike at the strings of cello/Tarentaliogy Defloration/
Locomotive percussion overwrought by loops of sonic drones into blinding scales of sun/
a taste for envelope follower to decay into thirst for orgy of blasted love collides and nothing is prohibited on the celestial paino noisy as the body itself settles as warning signs to escape impact on the suffering ears limit to jagged edge of analogue dialogue/
It just never begins/
Lee Kwo
