(Copyright © 2006 Piero Scaruffi | Terms of use )
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

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).

(Translation by/ Tradotto da Pierluigi Napoli)

I Dysrhythmia, un trio strumentale di base a Philadelphia (il chitarrista Kevin Hufnagel, il bassista Clayton Ingerson e il batterista Jeff Eber), sono eredidella tradizione del punk-rockstrumentale a tinte jazz diUniversal CongresseSaccharine Trust. Contradiction (2000), vanta composizioni articolate e sofisticate come Earthquake, di nove minuti,Polytrip, di dieci minutieLost in Disguise, di sette minuti;No Interference (2001), contieneLet You Fall, di undici minuti,e Pretest (2003), conTouch Benediction, raffina la loro arte di assolo frenetici, riff spigolosie tempi dispari.

Trasferitisi a New York ereclutato il nuovo bassista Colin Marston, il trio pubblicail breveBarriers and Passages (2006), che vira versoun post-rock in stileDon Caballero (Appeared at First, Bypass the Solenoid, An Ally to Comprehension).

Una delle migliori performance del trio è documentata nell’album split Fractures (Acerbic Noise Development, 2007): Earthquake, lunga 14 minuti.

Colin Marston deiDysrhythmiaavvia una collaborazione conGeorge Korein –che in seguito pubblicheràSomewhere On The Internet (2007) con il moniker Naked Mall Rats –per lanciare il progetto Infidel? Castro. Dopo aver pubblicato in edizione limitataInfidelicacy (2000) eCase Studies In Bioentropy (2001), debuttano con il doppioBioentropic Damage Fractal (Crucial Blast, 2005). L’album si apre con tre brevi collage che spaziano lo spettro tra industrial music, grindcore e digital hardcore. Poi è la volta dell’inquietante drone diDamage Fractal Series I: Intrusive Imagination, che simula il lento avvicinamento di una nave spaziale siderale, edei dieci minuti diBedridden (9:44), che accumula lentamente un’ondata di rumori atonali, un classicodella musique concrete digitale. I nove minuti di(In)voluntary Emotional Responsetentano di modulare questo tipo di rumore caotico imponentee di estrarre da esso una melodia, una specie di shoegaze digitale che riesce a raggiungere un livello di pathos Wagneriano. I dodici minuti diInvoluntary Physical Responseè un collage molto più caotico che fallisce nel trovare un centro di massa, come, in generale, la maggior parte del secondo disco, con un picco di frenesia nel primo minuto diDamage Fractal Series III: Cylindrical Bereavement Summarizing Its Orientations. Il monolite di 21 minutiche chiude l’album, Temporarily Dissolving Into Plasma During A Moment To One's Self, indugia per molto tempo in un desolato strumming di chitarrache lentamente diventa sempre più inquietante come un popolo di rumori nascosti che si spostano in primo piano. La quiete che avevamo dato per scontatoè polverizzata da un livello crescente di rumore gratuito, benchè permanga un flusso costante di suoni tintinnanti. Sebbene il significato di tutto questo èa dir poco criptico, e lascia come l’impressione che sia fondamentalmente una prova per un lavoro avvenire meglio focalizzato, l’arsenale di idee è impressionante e la loro applicazione brutalmente efficace.

Il concept albumdi George KoreinMemoirs Of A Trilobite (2001-2004) (BatHotAxe, 2005) percorre lo spettro tra elettronica,jazz e musica dance.

Kevin Hufnagel ha anche pubblicato gli album ambient per sola chitarradiSongs for the Disappeared (2009) eTransparencies (2011).

I Dysrhythmia hanno dato seguitocon il mediocre Psychic Maps (2009) el’elegantee cervelloticoTest Of Submission (Profound Lore, 2012).

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