A.F. Jones: all sounds, composition
A.F. Jones is none other than former Bagatellen editor Alan Jones, who has been quietly active as a sonic manufacturer in the intervals between his duties as an undersea acoustician (a role of which I am, confessedly, extremely envious). Seven tracks from the 2009-2013 period were gathered for this debut release, which – to say the very least – resolutely affirms that the man is as proficient as a creative entity as he was/is in his written reports.
Let’s immediately try and determine associations – admittedly remote – to help the apprehension of what Rearward Through Forgottenness is all about. Jones exercises activities around the same exploratory fields of individuals such as Joe Colley and, in more out-of-town fashion, Jason Lescalleet. This does not mean that the music sounds like that of those two; the overall content of this record is definitely less harsh. I’m merely reminding that all the quoted gentlemen are earnestly concerned with the harmonic content of a sound’s essential corpuscles. The sources are not explicit except for “Radiator Piping (Ostuni, 2009)”, although one can occasionally surmise (guitar strings and/or resonating metals seem – and I stress seem – to represent factors in some of these equations; for example in the title track, or in “Endocardiums IV”).
At any rate, most everything found herein elicits a sense of “internal-ness”, so to speak. Not only listeners can “feel” each piece’s kernel, their spirit if you will; together with the latter they oscillate, transmit, receive and tremble, unsettled one moment and right inside the picture the next. Constitutional patterning and unwilled maths contribute to turn what mankind calls “noise” into complex miniature sonatas. The terrific liner notes – penned by that other typing heavyweight, Joe Milazzo – do an outstanding job in translating concepts that are still stubbornly discarded by those who think that a conceptually unlimited harmony should necessarily be linked to traditional meanings and implications of “consonance”. After all noise, as Milazzo rightly says, embodies the impossibleness of correctly conveying an acoustic overload, not an actual “deficiency”. On the contrary, humans are the ones who lack the indispensable means to construe with that type of communication; ask a cat about the inner elements of a “noise”, then come back crying.
Jones appears to be entirely aware of all of the above, and it shows all over 51 minutes of coarse exhilarations and soiled nirvanas, either via monotonic emanations intermeshed with aquatic insects (“Parachonists”) or concrete types of abstraction (“Wrought Signals”). The transit across different states of perception is made easier by someone who uses clever ears and a healthy brain to facilitate a connection to a more-tangible-than-usual beatitude. Tampering with unintelligible forces to bring out an otherwise indiscernible significance.