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Emil Beaulieau, "Moonlight In Vermont"

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Forget every "rule" of noise, do away with any preconceptions concerned with the genre, and prepare for something just a bit different. There are silences, sonic abberations, variations in pitch, timbre, and duration, and a wide palette of moans, groans, and explosions used all at once. Variety and intrigue is the name of the game on Moonlight In Vermont and Emil Beaulieau is chess master (if you will). Sure, there's punishing, unrelenting, cascading, headache-inducing assaults to be found on this disc, but there's also dynamic elements. Most noise I've heard ends up sounding like one mass of destruction hell-bent on chewing concrete. Beaulieau's noise is different because he is capable of using sonically opposite sounds together. It could still eat concrete for breakfast, though. The first half is a nuclear melt-down accompanied by random samples (like a flute), electric stabs of rhythm, and the sound of unholy wails. If this is what a moonlit Vermont sounds like, I'm staying the hell out unless I have a shotgun and a small army. It's a truly scary summit that is reached before the fifth track (all of them are unnamed) acts as an oxygen tank and restores some sense of direction and balance. What sounds like a backwards guitar hums in the background whilst changing tones, punchy gasps of static, and roaring winds pour through the speakers. It makes getting submerged beneath the final two tracks a bit easier. Beaulieau's recorded sound has as much character as his live performances have but it's twisted and shaped in different ways. Sounds just don't start and stop; they're alive and full of nuance. The last I checked, Moonlight was only available on the tour but with some luck perhaps it'll show up at RRRecords, soon. 


Last Updated on Friday, 02 September 2005 08:24  


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