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Carlos Giffoni, "Welcome Home"

Best known for his No Fun festivals and collaborating with anyone he can get his hands on Carlos Giffoni has finally finished his solo debut LP, Welcome Home.  Recorded over three years and across several continents, it’s the sound of electrical things gone against their design to make something more of themselves and given time could well be his most pleasant piece of deformed improvisational composing yet.
Important Records

Like Giffoni’s No Fun festivals Maya Miller provides the artwork here and the imagery catches the feel of the album’s shifting fluid structure as these dripping biological virus-born wasting germs seem to have been caught mid morph, between birth and messy evolution to fluidic crawling abortions.

While many artists specializing in noise, distortion, cutups and improvisational chaos will delight in the murk of distant analogue feedback Giffoni relies on purely digital sounds and the crystal clear violence of the music is initially more than a little startling. The introductory title track bursts forth as a mash of screeching horns and mutilated arcade games and most of the music here is born of an intensely in your face digital trash aesthetic. His hard drive is a chopping board where the soundtrack of electronic mutilation is expertly carved into four minute pieces of melted compositional madness/beauty.

Surface appreciation doesn’t work with Giffoni’s work (as background noise its chaotic harsh speaker abuse) but up close there are intricacies and moments of subatomic protein restructuring. Debris like “Trode Events” becomes a concerto for loose wires, bleeps and screeches as it barely manages to stay upright and the laser battle of “Expectations” becomes a warm digital bubblebath.  The album’s truest and most obvious spark of magic lies in the simpler closing strains of “Departure Time” and its buzzing railway announcement tones. These stabs of tightly bunched notes phase up against one another and from this clash a new bell-like soft melody is born of the harsh interaction of these sounds. Then it all ends unpredictably with a splurge of noise like a puff of magician’s smoke.

This is proof, if needed, that Giffoni needs to spend a bit less of his time collaborating and a bit more time at his PC desk.

samples:


 

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YouTube Video


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Liberez, "Sane Men Surround"

cover imageOriginally released as an extremely limited LP on Savoury Days and recently reissued by Luke Younger's Alter imprint, this Southeast England band's second album was one of 2013's most criminally overlooked releases.  Combining post-punk deconstructionism, heavy industrial textures, and a strong bent for collage/improvisation, this enigmatic ensemble is a welcome addition to the beloved pantheon of hard-to-define, fringe-dwelling British weirdos like Zoviet France, Throbbing Gristle, and This Heat.


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