Knurl - H2T – Absurd Exposition
–Download/CD - 2023 – AE71
https://absurdexposition.bandcamp.com/
https://www.screamandwrithe.com/
https://knurl.bandcamp.com/music
https://www.hotel2tango.com/info.html
1. Piece
1.
2. Piece
2.
3. Piece
3.
4. Piece
4.
5. Piece
5.
Image from Scream and Writhe Bandcamp.
Knurl is a Canadian noise project
operated by Alan Bloor that has been active since 1994. Hotel2 Tango is a
recording and performance venue that is run by the Godspeedyoublackemporer folk
in Montreal, Quebec. This recording was recorded there on July 7th,
2001. Knurl has released on many labels including RRR and Obscurica, who are a
personal favourite old label of mine, RIP. Bloor has also played live with
members of Sonic Youth.
The sound has an immediate acceleration
as if moving at high speed. Layers of noise and distorted roar overlay on Piece
1. Once everything is in full mass, things pulsate and throb, whilst higher
pitched distortion screeches over and through the entire sound. At different
points it feels as if the sound is trying to slow down, but moves at such a
high speed, this creates an abrasive friction that rubs alongside the main mass
of noise. This is very, expertly put
together and delivered.
Effective restraints control
the flow of Piece 2, which isn’t so out of control. Bloor uses a minimal array of
sounds here and allows different sounds into the forefront at different times –
stop, start, stop, start. High-pitched feedback ends up dominating the work in
its’ final stages. The squealing noise continues into the 3rd Piece
leading other elements of sound to join in the movement. A deeper bass roar is intermittent
and adds a thicker depth to the sound and is pulled away like a tablecloth at
times to let the sharper sounds cream where there was a roar. The thickness of
the sound increases as the bass deepens; this gives a good texture to the work.
The texture of the sound changes gradually whilst the elements move quickly, it
is like a steady undercurrent to the work that gives structure to the
abstraction like the background colour on a painting whilst the lines and drips
interact over the work. For example the cloudy mist in the background of a Lydia
Dona painting whilst the diagrammatic drawings and lines interact with degrees
of detail and colour. This is the longest Piece and allows for a longer,
gradual shift in sound that can adjust speed where it is appropriate. Like the
first track this reaches a high speed and trying to affect this speed gives off
pulsations of friction that squeeze the sound and accelerate it further when
released.
The fourth piece demonstrates
some excellent Death Drones that dominate making the screech a background element
every time it rears up. The sharper tones make a comeback and take the lead whilst
the hum of the drone controls the thickness of the sound. The die out of the
sound allows background noise and feedback to play off each other. The sound
rebuilds itself for the final work, Piece 5. This track pushes the under drone
and the wailing noise together to sharpen the focus point of the piece. The
lower end feels like it is punching the sound in the stomach whilst the higher
tones go for the head, a double barrelled assault. The deeper hum on this track
is very strong and really bellows when it is allowed to. The track drops into a
scattered no mans land of intermittent noises, it is as if Knurl kills the
underlying structure to allow the work to fall into chaos. This passage only
lasts for a short time until a finely honed precision takes hold to the work’s
end.
This was my introduction to
Knurl, despite hearing the name mentioned for years and I very much enjoyed it.
The disc is limited to 200 and available from Scream and Writhe in the link
above.
One, alone, promoting the
scene for three decades now. 2023.
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