Dysrhythmia
(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
Contradiction (2000), 7/10
No Interference (2001), 6.5/10
Pretest (2003), 6/10
Barriers and Passages (2006), 6/10
Infidel? Castro: Bioentropic Damage Fractal (2005), 7/10
Psychic Maps (2009), 5/10
Test Of Submission (2012), 6/10
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Dysrhythmia, a Philadelphia-based instrumental trio (guitarist Kevin Hufnagel, bassist Clayton Ingerson and drummer Jeff Eber), are heirs to the tradition of instrumental jazz-tinged punk-rock of Universal Congress and Saccharine Trust. Contradiction (2000), boasting articulate and sophisticated compositions such as the nine-minute Earthquake, the ten-minute Polytrip and the seven-minute Lost in Disguise, No Interference (2001), containing the eleven-minute Let You Fall, and Pretest (2003), with Touch Benediction, refined their art of frantic solos, angular riffs and odd time-signatures.

Relocating to New York and hiring new bassist Colin Marston, the trio released the short Barriers and Passages (2006), that veered towards Don Caballero-esque post-rock (Appeared at First, Bypass the Solenoid, An Ally to Comprehension).

One of the trio's best performances was documented on the split album Fractures (Acerbic Noise Development, 2007): the 14-minute Earthquake.

Colin Marston of Dysrhythmia teamed up with George Korein, who later released Somewhere On The Internet (2007) under the moniker Naked Mall Rats, to launch the project Infidel? Castro. After the limited-releases Infidelicacy (2000) and Case Studies In Bioentropy (2001), they debuted with the double-disc Bioentropic Damage Fractal (Crucial Blast, 2005). The album opens with three brief collages that run the gamut from industrial music to grindcore to digital hardcore. Then comes the haunting drone of Damage Fractal Series I: Intrusive Imagination, simulating the slow approach of a sideral spaceship, and the ten-minute Bedridden (9:44), that slowly builds up a tidal wave of atonal noises, a classic of digital musique concrete. The nine-minute (In) Voluntary Emotional Response tries to modulate that kind of massive chaotic noise and to extract a melody out of it, a sort of digital shoegazing music that manages to achieve Wagner-ian levels of pathos. The twelve-minute Involuntary Physical Response is a much more chaotic collage that fails to find a center of mass, as, generally speaking, most of the second disc, with a peak of frenzy in the first minutes of Damage Fractal Series III: Cylindrical Bereavement Summarizing Its Orientations. The 21-minute monolith that closes the album, Temporarily Dissolving Into Plasma During A Moment To One's Self, indulges for a long time in desolate guitar strumming that slowly turns more and more disquieting as a population of hidden noises moves to the forefront. The peace that we took for granted is pulverized by an increasing degree of free noise, although there remains a steady flow of tinkling sounds. While the meaning of all of this is cryptic to say the least, and leaves one with the feeling that it was mainly a rehearsal for a better focused work to come, the arsenal of ideas is impressive and their implementation rudely effective.

George Korein's concept album Memoirs Of A Trilobite (2001-2004) (BatHotAxe, 2005) ran the gamut from electronica to jazz to dance-music.

Kevin Hufnagel also released the albums of solo ambient guitar music Songs for the Disappeared (2009) and Transparencies (2011).

Dysrhythmia followed up with the mediocre Psychic Maps (2009) with the classy and brainy Test Of Submission (Profound Lore, 2012).

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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