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VIOLET — Violet Ray Gas & The Playback Singers
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VIOLET gibt es schon seit geraumer Zeit (in der Cassetten-Szene bereits als "1348" und NEW CARROLLTON aktiv!), ist aber leider bislang im Drone-Katalog kaum in Erscheinung getreten... Dieses Album auf dem eigenen ZEROMOON-Label prsentiert rauhe, grobkrnige, experimentelle low-fi drones inkl. Einsatz von Schallplatten-Loops, Stimmzitaten & Feedbacks, zum Ende hin aber weniger noisige polyphone Sphren-Schichten, die schon fast an PHILL NIBLOCK gemahnen... ein weites Spektrum ffnet sich hier mit eigener Handschrift...
"Quite an intriguing burst of dark electronic and sample noise from Violet, whose Violet Ray Gas and The Playback Singers (ZEROMOON zero008 / SENTIENT RECOGNITION ARCHIVE SRA 10) is released in a digipack covered with Futurist-inspired monochrome images full of harsh diagonals and fuzzy dreams of the machine age. Jeff Surak arrives here from Washington DC, a hero of the 1980s cassette tape scene when he used to release music under his 1348 alias and ran his Watergate Tapes label. Consequently we can hear much stern authority and grainy power in these grim process-works. My fave so far is the opener All Records Collapse, with its implacable radio voice plucked from an indeterminate Eastern European zone, but Snakehead Lapping, Plague Numbers and Marionetki all communicate the requisite doses of futility. Two long tracks at the end, Violet Ray Gas and Interior Ghosts, are somewhat more musical than atmospheric, shaped from queasy long-form drones tempered with alien sounds. Surak strives to offer near-silence and full-on tonal Brutalism, with all shades in between." [The Sound Projector]
"... Dark and mysterious, mixing in bits of Jeck and Tim Hecker, Wolf Eyes, blending them into Violet's ominous world of sound. There's feedback all over the place, but it's far from harsh or jagged, instead it's used like color, to paint greyed out landscapes burnished reds, and melted oranges, thick tones, reverberating chimes, bits of buzz and crunch, disembodied voices, intercepted broadcasts, clouds of hiss, chugging machinery, industrial sonic detritus, warped strings, woozy synths, all wound up into dense walls of sound one second, blurred into delicate crystalline lattices the next. "Plague Numbers" is total Jeck, a skipping scratched record smeared into a gauzy washed out living portrait of sound, indistinct figures, flitting shadows, mysterious shapes, all moving as if through a thick field of static, not even four minutes, but we found ourselves wishing it would never end. Elsewhere the sound of lapping water is swallowed up by a crackling crumbling fog of burnt melodies, and slowed down riffs, a sort of sun dappled lysergic sonic swirl. The title track is a tuning up orchestra stretched out into a softly chaotic symphony of angular tones and fractured melodies, of sine waves and groaning creaking low end rumbles, augmented by curious crackles and strands of distortion arranged in patterns resembling speech, but rendered in impressionistic shards, finishing off with a gorgeous high end ur- drone, a softer Sunroof!, a field of static bagpipes, their overtones creating otherworldly patterns in the ether. Gorgeous." [Aquarius Records review]
www.zeromoon.com
"Quite an intriguing burst of dark electronic and sample noise from Violet, whose Violet Ray Gas and The Playback Singers (ZEROMOON zero008 / SENTIENT RECOGNITION ARCHIVE SRA 10) is released in a digipack covered with Futurist-inspired monochrome images full of harsh diagonals and fuzzy dreams of the machine age. Jeff Surak arrives here from Washington DC, a hero of the 1980s cassette tape scene when he used to release music under his 1348 alias and ran his Watergate Tapes label. Consequently we can hear much stern authority and grainy power in these grim process-works. My fave so far is the opener All Records Collapse, with its implacable radio voice plucked from an indeterminate Eastern European zone, but Snakehead Lapping, Plague Numbers and Marionetki all communicate the requisite doses of futility. Two long tracks at the end, Violet Ray Gas and Interior Ghosts, are somewhat more musical than atmospheric, shaped from queasy long-form drones tempered with alien sounds. Surak strives to offer near-silence and full-on tonal Brutalism, with all shades in between." [The Sound Projector]
"... Dark and mysterious, mixing in bits of Jeck and Tim Hecker, Wolf Eyes, blending them into Violet's ominous world of sound. There's feedback all over the place, but it's far from harsh or jagged, instead it's used like color, to paint greyed out landscapes burnished reds, and melted oranges, thick tones, reverberating chimes, bits of buzz and crunch, disembodied voices, intercepted broadcasts, clouds of hiss, chugging machinery, industrial sonic detritus, warped strings, woozy synths, all wound up into dense walls of sound one second, blurred into delicate crystalline lattices the next. "Plague Numbers" is total Jeck, a skipping scratched record smeared into a gauzy washed out living portrait of sound, indistinct figures, flitting shadows, mysterious shapes, all moving as if through a thick field of static, not even four minutes, but we found ourselves wishing it would never end. Elsewhere the sound of lapping water is swallowed up by a crackling crumbling fog of burnt melodies, and slowed down riffs, a sort of sun dappled lysergic sonic swirl. The title track is a tuning up orchestra stretched out into a softly chaotic symphony of angular tones and fractured melodies, of sine waves and groaning creaking low end rumbles, augmented by curious crackles and strands of distortion arranged in patterns resembling speech, but rendered in impressionistic shards, finishing off with a gorgeous high end ur- drone, a softer Sunroof!, a field of static bagpipes, their overtones creating otherworldly patterns in the ether. Gorgeous." [Aquarius Records review]
www.zeromoon.com