1 Dark Skies At Noon 30:06
2 Ceremony - Parts 1 & 2 17:57
3 Ghosts Of Energy 17:49
Reed’s droning, crackling, lulling, screeching patchworks become as aurally-demanding as a Hecker or a Pita, while projecting also an out-of-the-box bigness and a vaguely psychedelic warmth, or a frayed (as opposed to diced or pixilated) edge that is, to my ears, very unique . The music here is not straight drone, or as uni-directional as that word might imply; it does not creep long, plunge deep, or run up towards abandon. Pure tones, static loops, and granulated washes collect and regress to form a looming mass of nearly symphonic austere sound bites, conjuring the spirit of writhing, head-cleaning “noise” music but projecting a cleaner vision, a high-lonesome, spectral conglomerate of disembodied machines.
The sound is spacious and arch-ful, though never fully quiet, as if there is continual off-site energy blowing through so that all lost is replaced, reflected, or refracted through a brilliant sensitivity to texture and pitch. Field recordings, violin, and the familiar guitar of Keith Rowe avoid becoming focus and instead evolve within the mix, rounding out the organism of Reed’s compositions, the hyper-real connectedness of such shrill and singularly uninviting tones and waves. Dark Skies At Noon is hands-down the best release of any Reed involvement that I’ve heard, and, in a limited pressing of 328, it is something to be treasured.
Brainwashed
seems to be sold out visit Rick Reed & Elevator Bath
try
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