Ralf Wehowsky: percussion, guitar, electronic treatments, composition; Anla Courtis: percussion, guitar, tapes, electronic treatments
Spend quality time with these gentlemen’s second joint essay (after 2007’s Return Of The Stone Spirits) and the remuneration is going to become concrete under assorted acoustic semblances, not inevitably “charming” – at least, not in the strictest intendment – but definitely thought-provoking (or thought-erasing, if you will). The coordinates around which the music travels are not that idiosyncratic for those who are conversant with Wehowsky’s lines of conduct. Adjectives such as “unventilated”, “ear-clogging”, “unshapely” and “rational” are all parts of a coherent totality defined by semi-disciplined perceptiveness and the usual touch of (apparent) nonsensicalness. The emblematic angle of observation is that of immoderate sonic transmutation: the sources might be known, yet the lone track where one distinctly detects the jangle-and-drone symptoms of stratified guitars is probably “Angurnor Pa Gombtem” (by the way: I don’t know the origins of the titles, but they are terrific). The remainder is made of alarming rumbles, extracorporeally angered voices, stretches of complete silence, deranged mosquito frequencies and additional traces of pragmatic manipulation. For someone, this record could represent a veritable rape of convictions and prejudices about what can and cannot be used in a compositional context. However, get accustomed to the salmagundi of glorious nefariousness emitted by the duo: memorable shards will find their place in the brain and stay there, woodworms hectically chomping at the neurons.