Damaged yet enticingly-composed harsh tape manipulations and surreal concrète textures from British Columbia’s Paul van Trigt, also well known in the noise world for his outstanding collage work.
Pro CD in 6-panel digipack. Mastered by Grant Richardson.
“As with any great set of ideas, creation or movement, there must be a framework. An origin of concept and themes of which to build upon – A mark made to then elevate and reimagine. Noise (now in 2022 encompassing a seemingly infinite array of methods from frantic computer music, to fragile tape manipulations, modular synth cutups, to manic, brute pedal driven harsh noise wall and back again) has always carried a rather elusive creation story. Tracing back to the futurist movement in the early 1900’s (Luigi Russolo), to the exceptional music concrete and the tape and sound studios of the 40’s / 50’s, (Pierre Shcaeffer, Luc Ferrari etc.) the early electronic music studios of the 60’s (Pauline Oliveros, Morton Subotnick, Stockhausen, etc.) to the explosion of DIY electronics and industrial of the late 70’s / early 80’s (The New Blockaders, Broken Flag, TG etc.) all the way through the tape trading era and Pro-CD sounds of the 90’s-2000’s and into the endless infinity chasm of the internet Hell hole that is now. Fast approaching nearly 100 years of recorded ‘noise’ in all its idioms and countless recordings has given us more than just a framework of sounds, but now rather implies what to now expect, anticipate, and even prefer. Perhaps the opposite of experimental music’s original intent…
So it is a much needed breath of originality and fresh (or perhaps more accurately, wire frayed + smoke filled) air that Canada’s Mot both smashes and brilliantly expands upon this framework with incredible results. Crude, exciting tape loops coupled with overdriven / dying preamps, acoustic sounds made electric with seemingly electric sounds reduced to lo-fi bit rate hiss. Horror corridor dwelling rusted contact mics seemingly stuck in a broken concrete mixer. Harsh, damaged inflections rip and tear violently through the false leading frail safety net of temporary tonal shifts and soft textures. Rough and raw sonic constitutions, but also highly contemplative, tactile based manipulations and careful thematic arrangements. A frozen solid, basement born sound emanating from ice-wind burned British Columbia, Mot executes an exceptional album of experimental electronics featuring the most crucial components: Freedom in sonic explorations, deep examples of compositional skills and a careful ear. May the framework built by the daring legends of the past continue to be both dismantled and built upon. ”