Puce Mary

(Copyright © 2012 Piero Scaruffi | Terms of use )
The Closed Room (2011), 7/10
Success (2013), 7/10
Persona (2014), 6/10
The Spiral (2016), 6.5/10
The Drought (2018), 5/10

Danish electronic composer Puce Mary (Frederikke Hoffmeier) debuted with several homemade cassettes, such as Piss Flowers (2010) and Lucia (2010).

The Closed Room (Posh Isolation, 2011), a collaboration with Loke Rahbek, contains a glacial post-ambient and post-apocalypse masterpiece, the 21-minute Iron Tulip. The piece unfold slowly, but turbulence is inherent, and eventually a helicopter-like vibration becomes prominent, rising and rising, and swallowing everything else; and just when the piece is about to end we hear another sinister rumble emerge periodically, a signal that the piece could continue forever... The way she mixed pulsations, glitches and scraping was highly dramatic and emotional.

Success (Posh Isolation, 2013) contains at least two more stately celebrations of alienation. The nine-minute Everything Stays The Same stretches a ghostly whistle until it becomes an abrasive flow of sonic lava that drowns the soundscape of otherwise tinkling and hissing and howling sounds. The ten-minute The Wait is an even denser and faster flow of noise, that keeps self-igniting until beginning to sound like a tumultuous crowd of animals screaming all at once... and then it ends.

Pure Macy also collaborated with Swedish group Sewer Election on Den Blege Gra Tone (2012) and Aska (iDeal, 2013).

Persona (Posh Isolation, 2014) trivializes Pure Macy's processes in the industrial vignette Course, in the ambient drones of The Viewer and in the dizzying distortion of Persona.

The cassette The Viewer (Ascetic House, 2014) contains another relatively old-fashioned industrial piece, Obedient Grounds, and the voice-manipulation nightmare of Dreams (but Stockhausen was doing these things in the 1950s).

The Female Form (2015) was another collaboration with Loke Rahbek.

The Spiral (Posh Isolation, 2016) didn't demur, but a painstaking process of collage turned its free-form abstract compositions, such as The Temptation to Exist and The Spiral, into philosophical essays. Nonetheless the album still contains gestures of extreme violence, like the infernal, Diamanda Galas-esque Night Is A Trap II and the ear-splitting hiss of Masks Are Aids II. Slow Agony of a Dying Orgasm, on the other hand, feels like an absurd surrealistic joke, with a spinning drone and a mechanical crescendo that are supposed to evoke an orgasm.

The Drought (Pan, 2018) veered towards more sophisticated and atmospheric soundscaping, although the abrasive tones still prevail, as shown in Dissolve (shrill clangor in a landscape of machine guns and grenades) and Fragments Of A Lily (sulfuric miasmas and corroded metronomy). Much of the album wastes time with recitations (To Possess Is To Be In Control, The Size Of Our Desires, The Transformation) that are, at best, irrelevant and, at worst, tedious, so one wishes that she had invested more in the symphonic pathos of the short Coagulate and in the macabre suspense of Slouching Uphill.

(Translation by/ Tradotto da xxx)

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(Copyright © 2012 Piero Scaruffi | Terms of use )
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