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L/A/B, "Psychoacoustics"
Petri Laukka, Jonas D. Aneheim, and Henrik N. Bjorkk claim that theserecordings are the result of live improvisations on various machinesand electronic devices. The result of their work is a 15 track "album"of static, harsh detonations, bubbling soups, and metallic shuffles. Ihesitate to call this a true album because each of the tracks seemsfirmly separated from each other; the only uniting factor being themusicians that made them and the manner in which each track wasconstructed.Ground Fault
Sometimes L/A/B makes thrashing electronic hums andhorrifying factory sounds, other times their tracks sound like effectspulled from a science fiction film made in the 1950s, but theirproduction is always pure and direct. Whether or not a pulsing rhythmexists in the song or a definite effect populates the majority of thetrack, every song on Psychoacousticsis brooding, monstrous, and delivers a healthy dose of tense,atmospheric malady. To their credit, this isn't mindless noise pumpedup to maximum volume or noise so loud and intense that it borders onthe un-listenable; each song sounds carefully constructed and dedicatedto illuminating some dark and grueling scene right out of a horroranthology. After the four "noise studies" that occupy the middle of thealbum pass by, Psychoacoustics begins to illustrate some signsof continuity and blossoms with a greater range of sound sources andstructural design. "2050 ¡C" is composed of a distinct rhythm and anear-melodious bass melody until a gorgeous ringing tone fluttersbackwards and forwards over the slowly fading sounds of the percussion.It's a lovely moment on what might be taken to be an ugly recording.There's a little bit of everything on this album and, as a result, itends up being simultaneously alienating and inviting. I've listened tothe last five songs over and over again for about the last two hours,but the first half sounds a little too disconnected and unsure ofitself, as though it wanted to go somewhere but forgot how to getthere. The sounds on this album aren't as immediately deadly as somesounds on noise records can be and so it is easier to appreciate andbecome accustomed to these tracks. There's a good mix of sounds, ideas,and songs on Psychoacoustics, but it ultimately feels more likea primer to L/A/B's work and to their range of sonic output than arecord meant to be heard from beginning to end. On the other hand,those last five tracks are as addictive as can be and they alone haveimpressed me more than many other noise acts ever have within the spanof an entire discography.
Sometimes L/A/B makes thrashing electronic hums andhorrifying factory sounds, other times their tracks sound like effectspulled from a science fiction film made in the 1950s, but theirproduction is always pure and direct. Whether or not a pulsing rhythmexists in the song or a definite effect populates the majority of thetrack, every song on Psychoacousticsis brooding, monstrous, and delivers a healthy dose of tense,atmospheric malady. To their credit, this isn't mindless noise pumpedup to maximum volume or noise so loud and intense that it borders onthe un-listenable; each song sounds carefully constructed and dedicatedto illuminating some dark and grueling scene right out of a horroranthology. After the four "noise studies" that occupy the middle of thealbum pass by, Psychoacoustics begins to illustrate some signsof continuity and blossoms with a greater range of sound sources andstructural design. "2050 ¡C" is composed of a distinct rhythm and anear-melodious bass melody until a gorgeous ringing tone fluttersbackwards and forwards over the slowly fading sounds of the percussion.It's a lovely moment on what might be taken to be an ugly recording.There's a little bit of everything on this album and, as a result, itends up being simultaneously alienating and inviting. I've listened tothe last five songs over and over again for about the last two hours,but the first half sounds a little too disconnected and unsure ofitself, as though it wanted to go somewhere but forgot how to getthere. The sounds on this album aren't as immediately deadly as somesounds on noise records can be and so it is easier to appreciate andbecome accustomed to these tracks. There's a good mix of sounds, ideas,and songs on Psychoacoustics, but it ultimately feels more likea primer to L/A/B's work and to their range of sonic output than arecord meant to be heard from beginning to end. On the other hand,those last five tracks are as addictive as can be and they alone haveimpressed me more than many other noise acts ever have within the spanof an entire discography. samples:
