Monday, August 3, 2020
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Artist: Joe Williamson (@)
Title: Hoard
Format: CD
Label: Creative Sources (@)
Rated: *****
Both the portrait this Canadian doublebass player picked up in order to introduce his release and his eccentric way of playing his plumbeous instrument could suggest Joe Williamson's sound could really be considered as post-industrial: on one side a pile of scrap-iron mainly made up of a plenty of trashed appliances such as washing-machines, air conditioners, stoves, microwave ovens, an artificial mountain which can be considered as the most visible impact on landscape (not only physical, but also cultural) inherited from the agonizing consumeristic era based on serial industrial production, on the other side a musical simulacrum, the one rendered by Williamson (now residing in Stockholm), whose sound seems to be reduced to a heap of debris. The way he plays the doublebass, based on the overpressure of the bow and arguably on vertical scratching of the strings and extended dwelling on arch passages, as well as the way he recorded this 2-(very long)tracks album, whose powerful vibrations have been grabbed thanks to the placement of the microphone very close to the instrument, results into an astonishing sound, giving the idea of a perpetual shrivelling, an endless crumpling of an undefined material, whose shape can be continuosly transformed, but not perished at all. While the first anthem, wisely titled "Inadvertent Attraction of Suspicion", sounds like a vortical intertwining of nerves and rubbles, the title-track could be similar to something between a noisy grumbling and an irritating snoring. In order to appreciate this bizarre recording, forget melody and rhythm and focus on texture and sound and you will agree with me when I say Hoard could be considered as the final and very sensual result of a process, where the words "destruction" and "creation" become synonymous just in order to bow to necessity!


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