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Jeff Carey, "Interrupt/Decay"
Jeff Carey makes cathartic, head clearing bursts of noise, bereft of any kind of real context. This is the latest in a number of releases from the electronic composer, who employs re-purposed game pads and other devices to create a mixture of arresting high pitched catalytic noise and digitally manipulated drones.
Carey controls his sound–completely improvised and recorded with few adjustments, as far as I can tell–by means of circuit bent equipment, managing filters and unexplainable sources of random noise with idiosyncratic spontaneity on a joystick. From a very limited palette he manages to assemble a wide, apparently limitless range of textures and atmospheres. Especially notable is his grasp of dynamics and buildup, which is what sets this release aside, lending just the slightest sense of humanity to what is otherwise cold, completely computerized noise.
The opening "Lag" is an assault by a singular statement–a constant burning shriek that sounds like hundreds of cracking bones and power tools being used incorrectly. "Struct" pops in and out of silence with permutations of a few static oscillations, while "Fold" burns ominously, with microscopic pops and clicks whirring above a distant eerie hum. The most variety comes from "Thresh," where Jeff commits eight minutes to discovering the whole range of sounds possible from his equipment. I can't help but be entranced by it even after repeat listens.
I feel a bizarre sense of reassurance from Carey's noiser moments, which are cathartic in their brute strength and sheer single-mindedness. However, I feel like some of the record suffers from not experimenting with contrasts more. His best moments, such as "Thresh," offer an endless universe of different sounds and effects, from the malevolent to the subtly sublime. Even in the unrelenting "Chop," the frequent use of ominous silence empowers the aggressive blasts of harsh noise, lending them a climactic intensity.
On much of the album, especially the latter half, Jeff Carey focuses more on a few specific high pitched buzzing sounds which resembled swarms of insects flying back and forth and dangerously close. They were interesting at first listen, but with Jeff's music there's a capacity for any number of impossible shapes and contours, so I was a little underwhelmed (and honestly surprised) that he produced the same sound more than once. Still, a good majority of the album is delightfully unpredictable, so I'm just nitpicking. It might be familiar territory, but Carey's music continues to find a niche by remaining confusingly, vibrantly fresh.
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