RRRecords
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.
samples:
