Jim Haynes: all sounds, composition
The depth of perspective, but also the relative lack of precise orientation elicited by Jim Haynes’ soundscapes in The Shudder Of Velocity change almost visibly in each of the three pieces comprised by its 34 minutes. “Tear” juxtaposes close-ups of asymmetrical noise with surroundings defined by vast dimensions, implying – without certainties from the listener’s side – a hint of semi-harmonic drone (industry-derived, or perhaps just the stretched resonance of a bell, or…) and merciless winds beating inhospitable remote lands. The accumulation of stress grows in the final sections via reiterative metallic washes and piercing pitches, until an unpropitious crack in the ice of entrancement reminds us to never rely upon a false sense of security, telluric rumbles closing the track. “Scald” takes its origin from something like the corroded loop of a brass blast, turning itself into a classically ill-boding wordless consort, vacillating grieving encrusted with various types of debris, mysterious voices appearing from nowhere. “Stifle” could be regarded as an attempt to achieve some degree of beatitude through a layering of waves whose undulation instantly registers in the psyche. The transonic prospect might vaguely recall John Duncan’s Phantom Broadcast, but there’s no risk of not acknowledging Haynes’ hand in this awesome journey across frequencies that sound both heavenly and scathing. Images of emergency room neon lights inexplicably inhabit my mind at the moment and, indeed, one would really love to be welcomed by similar mermaids once the body has ceased to betray our best intentions.