William S. Burroughs was a writer known for non-linear narratives and a hallucinatory portrayal of the underbelly of society. His work frequently centered on themes of addiction, corruption, and taboo subject matter, drawing from his own experiences with substance abuse and the counterculture of the 1950s and 1960s. Burroughs’ cut-up technique, the titular focus of this compilation, involved physically clipping and rearranging text to create new narratives.
Not only did he popularize this as a literary approach, but in doing so he also profoundly influenced avant-garde music. Disrupting conventional structures and creating unexpected relationships between words and ideas resonated with musicians seeking to break free from traditional, linear composition and musical storytelling. Notably, John Oswald, David Bowie, Radiohead, Brian Eno, Frank Zappa, and many, many others exhibit Burroughs’ influence in their music.
Cut ups work on at least two levels on Cut UP. Deconstructing W. S. Burroughs. The 13 artists that have contributed tracks were able to employ it both with their underlying music as well as any vocal, spoken word, or field recordings that appear in the foreground. The result is a weird and singular form of psychedelia.
While more than half of these artists are well-known in the experimental ambient space (e.g., Sigillum S, Rapoon David Lee Myers, P.U.M.A., Mario Lino Stancati, phoanøgramma + The Washing Planck, and Nihil Impvlse), the others are relatively less represented in efforts from the Unexplained Sounds Group family of labels (e.g., Dead Voices on Air, Adi Newton, PBK, 400 Lonely Things, Paolo L. Bandera, and Allan Segall). This gives the album a fresh sound unlike previous efforts from these labels – an accomplishment given their diversity.
Rather than being drawn to dark soundscapes or drone-dominated structures, these tracks are lighter, unpredictable, surreal, and disorienting. As an example, David Lee Myers’ Riding the Rails features short saxophone and synth motifs that repeat throughout in part or whole using rhythmically circular patterns, occasionally diving into chaos. In the case of Radioactive Cockroaches in Tangiers, Sigillum S provides lilting staccato chimes that accompany subtle non-western themes, quietly shifting masses of sound, and distorted vocalizations.
In contrast, Adi Newton’s The Chance of a Ghost explores varied repetitions of the words of its title spoken over unobtrusive electronics and soft industrial rhythms. The Stale Ania (Thief of Dreams) from 400 Lonely Things also features spoken word passages atop slow-moving ambient atmospheres, evoking a strange and haunting environment.
The compilation ends with Nihil Impvlse, always a favorite in these parts, employing muted industrial pulses, prolonged airy notes, and indecipherable voices. This track, Mythologies For The Age Of Control puts a fitting capstone on an unusual yet engaging set of Burroughs-influenced expressions.
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