Damin Romero at Lampo Previewed

A couple of sites preview Romero’s Chicago show. First Gapers Block:

It’s hard to try to explain Damion Romero’s awesomeness without first starting by saying that he built his own automobile — a 1968 Plymouth Roadrunner — from scratch. Said automobile can be heard on his self-released 2003 3″ CD titled Idle. It’s just that — an unprocessed recording of 20 minutes in the driveway with the Roadrunner. Idling. It happens to be one of the 2000s’ finest experimental/noise documents, a constantly engaging series of rumbles and clatterings, more persnickety in tone than any car you’ve heard. Despite its unconventional name, his ’90s project, Speculum Fight, redefined elegant, monolithic audio (the low-end theory, mostly) at a time when deliberate filthiness in avant garde sound was the law of the land.

And the Chicago Reader:

On the recent album 9 Before 9 (Blossoming Noise), a collaboration with Polish-born noise maven Zbigniew Karkowski, LA sound artist Damion Romero traffics in drones so low you can feel them better than you can hear them. Last week I played the disc during dinner with my girlfriend, and though we could talk without raising our voices, we were consistently interrupted by the clinking of glasses vibrating in the kitchen cabinets. Romero, who also collaborates with Japan’s Hiroshi Hasegawa under the name Astromero, has long been fascinated with dense, layered, abstract sound that on first encounter seems static—just one long and ominous throb of industrial gray—but that beneath its intimidating surface swarms with tiny, frenetic ripples and interference patterns, like the audio equivalent of TV snow. He’s interested in the physicality of sound and how it behaves in specific spaces, and for his Chicago debut he’ll play with the resonance of the Lampo space using tone generators and two homemade feedback boxes that create oscillations inside their enclosures.

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Musique Machine Reviews

From Musique Machine:

Nordvargr – Pyrrhula
With it’s mixture of grim and dark ambience, bleak drone expanses, doom /slowed blacked metal tone & funeral industrial rhythms Pyrrhula builds a highly effective soundtrack for a dead, barren and grim world of endless darkness.

Adam Cornelius – People Who Do Noise
Glancing over the list of artists interviewed on this dvd I thought to myself: who are these people? If this is a documentary on noise why limit yourself to the scene of Portland, Oregon (USA) to have Daniel Menche stand out as the most famous artist?

Univers Zéro – n/t
When cd’s entered the scene many lp’s were released on the new medium rather carelessly, if at all. Years after that launch, even on the brink of the demise of it (as some claim), many recordings are given a proper treatment of remastering and repackaging.

Good Guys – The Social Engagement
It comes in a rather minimal and black sleeve, the debut of New Orleans-based band Good Guys. The Social Engagement is far from dark or black, their energetic rock is almost the opposite, actually.

Hiroshi Hasegawa – Ascension no.999
Ascension No.999 is a highly creative, shifting and psychedelic trip into noise matter from Hiroshi Hasegawa ( C.C.C.C, Astro, Mortal Vision, ect). Split over 2 long and devastating 20 plus minute tracks this really is nirvana for those who enjoy long form shifting Japanese noise.

Svarrogh – Yer Su
Yer Su is a very densely layered and shifting album that attempts to bring together treads of Germanic and Bavarian folk, metal, industrial elements, cinematic/ classic tone and stew of other sonic flavours. And through it often succeeds in its blending of sounds-it sometimes gets a little too crowded for its own.

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