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Label & Cat.Number: Intransitive Recordings INT032
Release Year: 2009
Note: third solo-album, industrial-drone of another kind at its best! Amorph & dark electro-magnetic organic, rich in detail at the same time.. "Sever is an engaging album of evocative, highly visual drone music made up of layers upon organic layers that are in constant motion, and yet seem somehow still.."
Price (incl. 19% VAT): €12.00
More Info"It gives me great pleasure to present Sever, the third solo album by San Francisco-based composer Jim Haynes, whose singular music evades simple attempts to describe it. The process of decaying and wearing down materials is implied in Sever; its passages of rough clang and cyclic scraping metal seem implacably tangible, as if one is witnessing time-lapsed erosion in action. For me, Sever conjures images of oncoming storms, abandoned industrial sites, huge empty warehouses, creaking glass, ships rocking in a port, the middle of the ocean far from land. Sever is an engaging album of evocative, highly visual drone music made up of layers upon organic layers that are in constant motion, and yet seem somehow still. Jim Haynes has exhibited at Westspace (Melbourne, Australia), Diapason (New York), Jack Straw Productions (Seattle), and Works (San Jose), Eyedrum (Atlanta). He has collaborated with Loren Chasse (as the duo Coelacanth), Keith Evans, Steve Stapleton (Nurse With Wound), and irr.app.(ext.). He runs the acclaimed Helen Scarsdale label, and works as the Editorial Director for 23five, a nonprofit organization dedicated to the development and increased awareness of sound arts within the public arena. He has written extensively on sound art, noise culture, minimalism, and general music experimentation for The Wire, The San Francisco Bay Guardian, Metro Pulse, The Sound Projector, and Chunklet."
"... Much like his art, the music of Jim Haynes is based on, and is a continual exploration of the act of decay, an imagining of natural (and un-natural) processes rendered into sound, a world of crumbling landscapes and of microscopic worlds collapsing. While he has yet to figure out a way to actually record the process of metal rusting, Haynes has managed to create a soundworld that sounds precisely how he, and perhaps we, might imagine it. The process of decay, and erosion, found on and in Sever, is some sort of sprawling sonic time lapse, each track as much about the sounds as the sources, as much about the arrangements as the process of listening, as much about texture as timbre, as much about the tiny details, and the expansive whole, the opening track for instance, is all clatter and crunch, chiming and tinkling, to these ears it sounds like wandering through a ruined world, a dead planet, the sun drying every living thing to husks, these sounds are the dried carapaces, hung from rotted fence posts, rubbing against one another in what little breeze is left under a harsh midday sun. The sound of footsteps, the crunch and scrape of a despondent trudge, a death march, but all of this is carefully blurred and smeared, the obvious references are blunted, so the sound evokes all of the above, yet as if it were a dream, the edges a bit fuzzy, the sounds slightly gauzy, the colors hazy, the sound almost underwater sounding at times, a feverdream in sound...." [Aquarius Rec.]
"Jim Haynes we know from his label The Helen Scarsdale Agency where he released his own music. His music stands along the breed of composers working with field recordings and bring out new drone like textures through computer processing. People like Irr. App (ext.) or Tarab (see last week) or Matt Schoemaker (see elsewhere). He takes the earthly rumble and debris to the computer and crafts together eerie long pieces, in which we recognize faint metallic sounds, bells, water, wind and such like. Music that is quite dark, very dense and highly atmospheric. Low end rumble of radio waves, which form small rhythm sections, like regular rain falling on metallic plates. These small rhythmic additions make this a somewhat different release than his previous work which seemed to be exclusively covered in the world of drone music. Another damn fine release." [FdW / Vital Weekly]
"Der Drone als die offenste aller Formen wird wohl nie versiegen. Jim Haynes, zuletzte extrem angenehm aufgefallen mit einer kraftvollen Picture LP auf Elevator Bath, lässt auf Sever die Gräser im Wind rascheln, ohne dass Weltfluchtabsichten unterstellt werden können. Die verschwommenen Sounds rutschen immer dann, wenn es anfängt, dokumentarischen Charakter zu bekommen, ins Phantastische und Träumerische ab. Summende Tonabnehmer sprechen zu uns; besoffene Delays liegen am öden Strand und seufzen in den Technicolor-Sonnenuntergang. Die Welt könnte so schön sein…" [Zipo, Auf Abwegen]
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