KEVIN DRUMM / ADAM GOLEBIEWSKI – The Last Minute Or Later

UZNAM

When plagued by problems deriving from people’s exiguous lucidity, tips for a resolution are warranted by a thorough immersion in unconventional sonic experiences: the necessary answers materialize prior to any question, the right moves are performed by our intuition without a word dictated. We listen to billions of hours of sounds across every range of the audible, and become capable of maneuvering the mind through their mysterious manifestations to escape from cerebral quicksand, swatting away unintelligent behaviors and shallow doctrines as insistent flies.

Accordingly, it’s quite refreshing to witness an expectation associated with familiar names of textural alchemy (in this case Kevin Drumm) disregarded by the outcome of a partnership with a performer less known to yours truly. Adam Golebiewski has experimented with artists like Yoko Ono, Mats Gustafsson, Ken Vandermark, Fred Lonberg-Holm, Sharif Sehnaoui, Mazen Kerbaj and Mikolaj Trzask. And yet, only by the man’s benevolence my eternal cluelessness was allowed to discover this record and meet his approach to the use of percussion, describable – to paraphrase Rhys Chatham – as “drastic impressionism”. A bath in the healing waters of cultivated stridency for the cognoscenti; a terrorist attack of sorts, perhaps, for someone thinking exclusively to the “sinisterly calming” droning environments defining Drumm’s most recent solo releases. Incidentally, have you bookmarked his Bandcamp page already? It’s a fantastic gift per month or so, folks.

The communion of Golebiewski’s abstractly rebellious style and Drumm’s now acrid, now seismic emissions (which, lest we forget, find an origin in the kingdom of predatory noise) produces a ruthless melange, seizing the ears with cynical contempt for adjectives such as “caressing” and “comfortable”. Imagine a stylistic scuffle involving Z’EV and Zbigniew Karkowski (if they were still on this planet), and you’re not distant from this album’s reality. Four tracks for a radical reconstruction of the correspondence between auditory channels and brain, the latter on the one hand annihilated by the extreme frequencies, on the other forced to a new and surprisingly functional logic of decoding.

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