The Fun Years, a New York-based duo of baritone guitar (Ben Recht) and turntable (Isaac Sparks), employed the "noises" of the turntable to "arrange" the music of the guitar and viceversa, exploring the complementary roles of the two instruments when locked together in a polyphony of samples, loops and drones.
After the amateurish
Now That's What I Call Droning, Volume 4 (2004),
Why We're All Below Average (2005),
Crminimal Hardcore (2005),
$3.99 Yourself to Death (2006) and
The Crippling Paranoia Of Fluorescent Quinine (2006),
their art unfurled the discreet schizophrenic meditations of
Life-Sized Psychoses (Barge, 2007) and
Baby It's Cold Inside (Barge, 2008).
Half of God Was Like No (Barge Records, 2010), whose pieces segue into
other with no discontinuity, stages a parable of split-brain.
Breech On The Bowstring undergoes
an imposing crescendo from minimalist repetition a` la
Glenn Branca to
dirty android drones.
Makes Sense To Me unleashes
a battle between calm ambient music permeated by alien radio signals and hypnotic guitar strumming.
In both cases the music is pulled by two opposing forces, one towards
repetition and the other towards the continuum.
A narrative emerges later when
the mind-warping reverbs of Psychic Career segue into the
psychedelic mantra of Little Vapors that segues into the
murky sound collage of And They Think My Name Is Dequan,
a prelude of sorts to the industrial miasma and zombie distortion of
Get Out Of The Obese Crowd (the album's standout).
The wall of noise of Precious Persecution Complex moves
like a tidal wave that approaches from the horizon, but it also hides
a soaring organ-like melody.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami