Friday, May 15 2009 @ 02:00 AM PDT
Contributed by: Jack The Ripper
Artist: Locrian 
Title: Rhetoric of Surfaces
Label: BloodLust!
Genre: Noise / Drone
Track Listing:
01 Drosscape
02 Burying the carnival
03 Gruen transfers
04 Visible/invisible
05 Chladni
06 Amps into instruments
Lava bubbles gets torn and immediately reborn in an eternal sequence in the eye of the trance induced spectator, each explosion is like a galactic creation in its own then fading away in the ever burning blur of this continuum. This is kind of an image triggered by experiencing this music. An aborted Black sabbath malformation going down into a decisive experimental noise bad trip. Locrian is a band from Chicago that apparently follows the atonal guitar experimentation preceded by the likes of Glen Branca only dressed in apparent drags of doom music or at the very least very gloomy vibes. “Rhetoric of surfaces” is a compilation of rare tracks released on several limited releases and splits with bands like Colossus and Continent, being some of the tracks live apparitions. All the works were carried out from 2006 to 2008. Terence Hannum and Andre Foisy the twosome behind Locrian play no fixed rules and just follow dogma of experimental improvisations it seems. They claim that they don’t idolize anyone in what they do and often feel beyond flattered when compared with legendary bands. All in all this is experimental post rock hopelessly submerged in post modern nightmares.
“Rhetoric of surfaces” takes no subterfuges when coming out of the speakers; it is confrontational and direct with the listener. Its form is a guitar noise declamation with a suffering soul. A set of guitar dirges manifest behind a never ending cascade of feedback noise that gets engulfed in reverberating mass of drones assaulting the comforting little peace of the spectator from the very first track and ultimately setting an atmosphere that is locked, suffocating, like intestinal peristaltic movements; suggesting: vastly organic and subterranean formations. To note is the fact that the continuous use of feedback based on pedal effects and colossal amplification that subsequently create huge waves of reverberation or the immense stellar clouds of drone made of guitar pieces are not the unique source of attraction during the quest. There is actually a guitar chord behind the gigantic wall of noise and additionally some strange odd effects that resemble at times the screams of a deranged hermit suffering the horrible visions coming from the syncopated riffs that quietly emanates from this aural trepidation.
Perhaps this is one of the principal subtle characteristics that define the noise definition of Locrian, they give a little play to the guitar and not necessarily limits its apparition as a mere instrument at the service of noise, the guitar strolls in acidic dirges that corrode the very bone crumb from the listener, this aspect and the additional fact that the effects applied to the whole body of sound (conformed by feedback and guitar noise drones mainly) adds an unnerving sensation to the experience. However, amidst all the subjective influences they achieve to produce on the listener, the experience as a whole never really gets recorded in the mind as something memorable. As any other kind of trip, dream or futile experience, its effects fade away in the ether leaving no trace of impression nor reclaiming a mandatory recordation.
Nevertheless noise cannot constitute a solid memorability in its own, its too amorphous, ultimately it may invariably shake the listener indeed, it is able to trigger sensations and even visions, but even those states are not consolidated by the experience in itself but above all by the mood of the listener. Its true, sonic evocations like “rhetorics of surfaces” will always trigger gloomy sensations or visions but these will invariably change with each listen as there is no truer memory consolidated in the shapeless reign conformed by walls of noise or mountains of feedback, as much you will get a deja vu or a vague remembrance of an aural landscape visited previously. No one will remind the sounds or effects after the instantaneous impression given through them has faded in the entropy of time. “Rhetoric of surfaces” achieves then a fleeting victory by shaking you, then disappears and probably will never come back again to you as product of a desire that was never coined in the mind of the listener.
Track Listing:
01 Drosscape
02 Burying the carnival
03 Gruen transfers
04 Visible/invisible
05 Chladni
06 Amps into instruments
Lava bubbles gets torn and immediately reborn in an eternal sequence in the eye of the trance induced spectator, each explosion is like a galactic creation in its own then fading away in the ever burning blur of this continuum. This is kind of an image triggered by experiencing this music. An aborted Black sabbath malformation going down into a decisive experimental noise bad trip. Locrian is a band from Chicago that apparently follows the atonal guitar experimentation preceded by the likes of Glen Branca only dressed in apparent drags of doom music or at the very least very gloomy vibes. “Rhetoric of surfaces” is a compilation of rare tracks released on several limited releases and splits with bands like Colossus and Continent, being some of the tracks live apparitions. All the works were carried out from 2006 to 2008. Terence Hannum and Andre Foisy the twosome behind Locrian play no fixed rules and just follow dogma of experimental improvisations it seems. They claim that they don’t idolize anyone in what they do and often feel beyond flattered when compared with legendary bands. All in all this is experimental post rock hopelessly submerged in post modern nightmares.
“Rhetoric of surfaces” takes no subterfuges when coming out of the speakers; it is confrontational and direct with the listener. Its form is a guitar noise declamation with a suffering soul. A set of guitar dirges manifest behind a never ending cascade of feedback noise that gets engulfed in reverberating mass of drones assaulting the comforting little peace of the spectator from the very first track and ultimately setting an atmosphere that is locked, suffocating, like intestinal peristaltic movements; suggesting: vastly organic and subterranean formations. To note is the fact that the continuous use of feedback based on pedal effects and colossal amplification that subsequently create huge waves of reverberation or the immense stellar clouds of drone made of guitar pieces are not the unique source of attraction during the quest. There is actually a guitar chord behind the gigantic wall of noise and additionally some strange odd effects that resemble at times the screams of a deranged hermit suffering the horrible visions coming from the syncopated riffs that quietly emanates from this aural trepidation.
Perhaps this is one of the principal subtle characteristics that define the noise definition of Locrian, they give a little play to the guitar and not necessarily limits its apparition as a mere instrument at the service of noise, the guitar strolls in acidic dirges that corrode the very bone crumb from the listener, this aspect and the additional fact that the effects applied to the whole body of sound (conformed by feedback and guitar noise drones mainly) adds an unnerving sensation to the experience. However, amidst all the subjective influences they achieve to produce on the listener, the experience as a whole never really gets recorded in the mind as something memorable. As any other kind of trip, dream or futile experience, its effects fade away in the ether leaving no trace of impression nor reclaiming a mandatory recordation.
Nevertheless noise cannot constitute a solid memorability in its own, its too amorphous, ultimately it may invariably shake the listener indeed, it is able to trigger sensations and even visions, but even those states are not consolidated by the experience in itself but above all by the mood of the listener. Its true, sonic evocations like “rhetorics of surfaces” will always trigger gloomy sensations or visions but these will invariably change with each listen as there is no truer memory consolidated in the shapeless reign conformed by walls of noise or mountains of feedback, as much you will get a deja vu or a vague remembrance of an aural landscape visited previously. No one will remind the sounds or effects after the instantaneous impression given through them has faded in the entropy of time. “Rhetoric of surfaces” achieves then a fleeting victory by shaking you, then disappears and probably will never come back again to you as product of a desire that was never coined in the mind of the listener.
