A collection of rare tracks from Intonarumori collected over the last ten years. Includes unreleased tracks and music previously released only on compilations and cassettes or as soundtracks for theater and film productions.
The subtitle to this 10 - year overview from Seattle experimenter/cellist Kevin Goldsmith is "rumbles, roars, explosions, crashes, splashes and booms." Since Goldsmith adopted his moniker from Italian Futurist Luigi Russolo's early 20th century noise machines, which were to reproduce industrial sounds, it seems fair to assume that the moniker and subtitle would act as an effect summary of Goldsmith's sonic investigations. But that would be a simplistic assessment, to say the least.
Certainly, there is a fair bit of banging, clanging, and dark rumblings, but these pieces are less restricted to a rythmic cul de sac and more improvised and open. Not to mention more dynamic. Indeed, these collages range from monolithic pits of dark noise to more modulated, sculpted ambience to bold cinematic soundscapes to solemn piano requiems. But Goldsmith is no labcoat asthete and possesses a sly sense of humor, such as when he drowns a sample of Public Image Limited's "What You Want" in rush of running water. Goldsmith has a flair for juxtaposition and editing that makes his moniker seem a little bit like false advertising.- Richard Moule
Difficult listening, though not without rewards, the 13-track disc is subtitled "10 Years of Sound; Rumbles Roars Explosions Crashes Splashes Booms" and that only scratches the already-torn-into surface... Uniform Random Variables (8:11) spews forth layers of mediaspeak in assorted languages and topics (though leaning toward computers and technology), slow metallic clangs, irradiated glares, crazy piano activities, rock music, sirens, traffic, sing-song murmurs, and more, melting into weird grumblies. Less-littered with sample-debris, brooding a/tonal chaos grows in Layer Parallelism... then the floodgates of muted conversation opens, pouring wordstrata into the churning turmoil, with occasional shouts punctuating the dense vortex.
A much quieter intro leads into DLY where light drifts and rhythmic plucks coalesce into something actually quite sedate and lovely. Home Base Variation 2 (1:12) softly spirals on relatively straight (though a little spooky) piano interludes. I won't give away all the other surprises, but be assured they're there in the guise of synths, beats, polititalk, ominous chords, rainy cityscenes, sci-fi squigglies, timpani, echoey guitar strings and much, much more... With spurts of feedback and what sounds like electric guitar strings being randomly fingered with gloves on (then actually strummed), Live at the Mercury closes the disc (well, not counting the 14th track of a 13-second silence...). Challenging stuff; some of the juxtapositions are inscrutable and it takes a certain degree of audio-masochism to go deep (I recommend headphones for utter immersion)... thus recommended to the heartiest of the adventurous.