What can JrF contact microphones, tape decks, a no-input mixing board,
electronics, and field recordings get you? For Nicholas Maloney, it gets him
some of the deepest, dankest low-end sound design imaginable. For its first
half, FTES barely registers any
treble – it scrapes the sonic depths at such frequencies that molecules are
actually disturbed. Literal molecules! The resulting glitches in the space-time
continuum are distinct enough to be perceptible, but they happen so quickly and
so frequently that we can’t get a grasp on them. It’s like stills wound forward
four frames, back two, forward another four or five, back three, moving the
timeline, but oddly. The unnatural shifts in reality are like hiccups, but ones
we can’t cure by drinking tall glasses of milk upside down-ish.
The end is not so interminably (but not bad interminably) low on side B, as the tones register in higher
frequencies. They’re still intense, still disruptive, still massive – don’t
ever get me wrong about that. By the end of the fourth track (all four
untitled) it feels like you’re sitting in the middle of fission reactor at
rest, radiation still vibing through your body but the works kind of shut down.
Maybe FTES is meant to recreate the
sound of the ghosts of nuclear reactions – I wouldn’t be surprised at all if
that was its intent. Or shall I say, FTEnt?
No, that’s dumb.
https://blanketswimming.bandcamp.com/
https://park70.bandcamp.com/
--Ryan
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