Sondheim – Carter – Damrosch – “Limit” – [Public Eyesore]
Recalling my first reverse echo takes me back (forward?) to a Whole
Lotta LedZep, which at the time amps up the anticipation like deja
vu on demand. More to KFJC tastes, Alastair Galbraith used to have
tricks up his sleeve and in his dinghy to float sounds back and forth.
On this release though, Alan Sondheim’s stated goal is to push such
processing to the Limit. So Luke Damrosch the torpedoes and sets
up his chop ‘n’ flop algorithms to fly at unreal speeds in real-time
CPU’s. Often you can feel their little glitch points pop up in the mix.
You can read more theory in the liner notes, to me Sondheim’s way
with strings and things remains the focal point of this trio. He’s
quite the dazzling dervish on say “longsazb” (Check “Longsaz” from
their previous release.) That, like a lot of Sondheim’s playing
looks East, another form of back or is it forward? The following
“movement*” track feel like a Sudanese surprise, and then another
more involuted “movement” after that. Does the processing illuminate
or obfuscate? “Prelude” succeeds with more subtle volume-pdeal like
processing, and as one of the rare vocal tracks featuring Sondheim’s
partner in sound and more : Azure Carter. She pops up on #2 and #7 as
well, singing in a Emo style (I mean Emo Philips the comedian not
the Emo movement.) Hard not to picture her singing with eyes wider than
her mouth. Her very pure voice is a nice contrast to the slither and
scuffle sounds of Sondheim. Her songs are they all about becoming songs?
Overall impressive ideas and a more impressive array of instruments. How
the final track consumes or feeds may vary on you and where you fit in
the soundtime vortex (their “Threnody” also had a cataphoniclysm to end
as well.) Cool Rhode Island brainwaves by way of Brian Day???s Public Eyesore.