Race To The Bottom is a single, 42-minute improvised slab that combines raw electronic noise with music concrete. Despite being billed as a single track, there are two fairly distinct sections, the first for the first fifteen minutes, the other for the remaining twenty-seven.
In the first part, the central bed, while synthetic (I think), sounds a little like tuvan throat singing, with subtle and slow variations in pitch giving a constant and unsettling sense of suspense and disquiet. There’s a constant and very frequent undulation in this, giving it the tone of a old car motor constantly ticking over. Over this are constant and rapid blips like secret hidden radio messages.
At points, we are joined by other instrumentation that’s been pulled so far away from its comfort zone that it’s barely recognisable- there’s something which I think, unconfidently, is a saxophone, though I wouldn’t be shocked if it turned out to be a clarinet. A few minutes later there’s something that has a chanted vocal quality to it, yet it’s so distorted you have to question whether it’s somebody shouting, or a guitar wailing. It starts to feel more like a musical quiz than a passive experience- “can you tell what instrument this used to be?”
The second part, while constructed of some of the same building blocks, switches tone. The subbass drone is mostly gone, replaced in part by industrial sound effects, metal scrapes and drags. Electronic loops and squelches are more prominent and the vocal is almost clear and discernible (but not quite). Relatively speaking everything’s a bit more playful and a bit more percussive. As with the first part, tension builds so steadily that it’s barely perceptible.
It’s a dark, noisy, sinister and attention-demanding collaborative work with a very raw feel, that brings dramatic control and balance to a sonic ensemble that is too often just an exercise in extremes.