Music

Reviews:

"This extremely long-in-the-making (five years!) collaboration between these two titans of the avant garde finally arrives with high expectations that are summarily met. Rather than something academic and difficult, it is instead a captivating and visceral work.

To avoid getting too deeply into the realm of art interpretation, it would seem that Wehowsky and Rainey were heavily inspired by the nature of personal communication. Perhaps a given from the nature of their interactions: this entire collaboration was performed via postal mail, the track titles are relative to communication, as well as recurring motifs through the tracks, such as disembodied voices, fragments of phone calls, etc.

The title track is flanked on either side by two shorter pieces, beginning with "Awaken Elsewhere, Unforeseen." An overall intensely dark feeling permeates the track, using a collage of metallic scrapes, breaking glass, and a percussive knocking. Music that is focused on found and abstract sound, then treated with processing such as this can often just come across as a mish-mash of recordings that don't go anywhere, but Bhob and Ralf rise above this pitfall. Both show an excellent ear for composition, and it is obvious in this first track, allowing the collages of sound build and build in depth and volume until it becomes massive, then the tension dissipates, letting everything fall away to rebuild again.

The title track encompasses more than half of the volume of this disc, opening with a disorienting mix of loops and metallic reverbs that build upon each other until reaching a towering wall of noise that cuts away to reveal the distant field recordings of children playing, footsteps and movement. A bit later some tortured saxophone on behalf of Rainey can be heard, barely recognizable after both have treated the sound. This interplay between the processed electronic sounds and field recordings continues throughout the 20 minutes of the piece, alternating between the spacious recordings of the outdoors and dense analog electronic drones that would be appropriate on some of Sunn O))) or Wolf Eyes work. Not only is this stylistically similar, but in intensity and mood as well. Throughout the 20+ minutes of this track, it's almost like an audio document of the mind of a stalker or some inhuman creature hunting its prey, lurking in the distance just out of sight. Cinema for the ears, indeed.

The final track, "Re: Hi!" is a little more assaultive on the senses with bursts of feedback, vacuum cleaner white noise, and car horns which eventually give way to minimal analog crinkling sounds and digital birds flying in the distance. A bit less subtle than the prior tracks, but just as interesting.

Rainey and Wehowsky have created a sonic journey out of some of the most unrecognizable sounds. It's hard to pinpoint exactly what is going on here and that's exactly what makes for such a captivating listen. It's unfortunate that this collaboration had such a Fitzcarraldo level of difficulty in its completion, because a follow up would be a very good thing."

- Creaig Dunton, Brainwashed

 

"Wehowsky albums take their time to appear, and the gestation process of the magnificent I don't think I can see you tonight, his collaboration with Bhob Rainey, is lovingly described in the notes printed in the gatefold cover of the disc. For example: "April 2003 With some goading and inspiring suggestions by Ralf, Bhob records numerous saxophone excursions, most significant of which is a variation on Ralf's 'Drunken Walk' suggestion, where Bhob plays saxophone, rolls around in an office chair, bounces a ping pong ball with his feet, and generally causes distress in an already cluttered attic where he lives. Ralf invokes Sun Ra's Black Forest Myth, Cecil Taylor's Tales From The Black Forest and Brötzmann's Schwarzwaldfahrt on his own journey through Germany's dark woods: Black field recordings by Ralf." And so forth. Amusing and honest, but not quite what you'd put in your CD if you were applying for a teaching position in a composition faculty. Not that I'm suggesting that's where Wehowsky belongs (he already has a good day job as it is, thank you very much), but from where I'm sitting this is one of the most important works of electronic music to appear this decade. Or musique concrète, if you prefer, though I think the old ideological distinction between the two doesn't mean much anymore. Field recordings – and there's another expression that's outlived its usefulness: how can you make a field recording in a cluttered attic? – are here to stay, but Rainey and Wehowsky show that there's a lot more to making music than just slapping them into Max / MSP or some such application, diddling about with EQ and adding a few fades and FX here and there. Take the time to understand your material, live with it, get to know how it behaves, what it will and won't do, and then take the time to design and build a compositional structure that will reveal it to its best advantage and surprise both you and anyone listening to it, again and again. Above all, take the time. As the irritable old geezer who repairs Woody's arm in Toy Story 2 says, "you can't rush art!" Listen to how the title track emerges slowly from a shell into which fragments of recognisable noises are being sucked as backwards soundfiles, taking nearly seven minutes to reach the open air, where distant sounds of children at play, footsteps and tiny smears of saxophone multiphonics and all manner of sonic building blocks both recognisable and tantalisingly inscrutable are gradually brought together to construct the musical equivalent of a Gothic cathedral."

- Dan Warburton, Paris Transatlantic