Spork

Very nicely presented, hand painted disc, full-color-copy cover and classy graphic design. The Spork CD-R, the one with the great cover image of a 60's recording studio, seems to be made primarily from 'feedback and connection sounds from amp' and a delay unit. For such a sparse set-up, the group go through a surprising range of textures. The opening is a spacey-echo thing, slow and sparse. Then, the sound grows dirtier as percussion accents and tape noise is added. The third track is a 30-minute monster of tape squeal and deep bass drone which devolves into an explosion of metal percussion. The rest of the disc is mostly high-pitched whine and bad-connection blast, all quite carefully controlled and interesting. The sounds are rich and full and the music is thoughtful throughout.

[ Text below translated from Portuguese by Altavista Babelfish. ]

This is a work of that they give joy to discover. It is a work that goes against the barriers that they delimit what it is music and they make them to fall for land. This is a workmanship cousin, whom it according to deserves to be dissecada second. E believes me, much has to discover... Is plus an edition of irrequieta Neus-318, a Japanese woman editor that already edited some works of projecto Portuguese Mikroben Krieg, in compilations and one split compact disc.

Soon in the layer in the acknowledgment is given to them: Feedback+ Experimental Electro+Acoustic Noise Music. E is this the definition correcta for this work. The majority of these musics had been recorded to the living creature, almost all fact with acoustic instruments (if it is that if they can call instruments), with a great dose of imagination.

They are the seven bands that this compact disc All folloied they of a description composes of as they had been made. Thus we can discover that they had been used to produce sounds metal elements as cacifos attacked by its proper shelves and chains, rubbed magnetic ribbons manually in heads of readers of cassettes, etc.

The result is without a doubt interesting and unimaginable. It is almost impossible if not to adore this excellent work.

He is interessantíssimo to see what if it can make with so rudimentary instruments. They are obtained to create obscure ambiências, sufficient colds and accidents, entrecortadas for elements of pure noise, of a so subtil and co-ordinated form that almost sounds the unreal one.

E more I do not go to say about of this supreme workmanship. They try ouviz it that they will not be repented. Well close to the place where the perfection and the chaos if touch...

Some while ago I reviewed quite positively a CD by these people, and now I have a new work that primarily deals with feedback. But with the added help of a metal cabinet and a typewriter, to mention some of the sound sources. Brutum Fulmen succeed again in combining harsh noise with more subtle moments. This works best, I think, in the shorter pieces, and they are luckily in majority here. The long 'Rasputin' has it's moments but lacks structure. The shorter pieces work best in their noisy, Hendrix-feedback-like capacities. Excellent noise is hard to find -- but here's an example.

I must confess that I am not a big fan of noise music, but I had a hunch this would be special. Your album is really gripping and the variety of sounds impressed me. Definitely some of the best noise I have ever heard.

Also new is the 2nd CD from the Brutum Fulmen, who do some excellent sound work using a lot of acoustic sound elements as well as some electronic noise. Extremely well recorded and produced. Definitely somebody to check out if you haven't already.