…this is an exciting listen, though very much reliant on you the listener being in a receptive mood for this vigorous and uncompromising set of aural gymnastics. As it’s been recorded live, there’s a sort of warm fuzz that lends a sort of protective sheen to the experience – but even so this is a record for a quiet hour where you attention has to be fully tuned.
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…The first track is split in two sections and offers a good overview on her qualities and attitude. There is a great control over musical dynamics and distortion and a very personal tone. You could say that all the techniques are actually enough widespread – piercing feedbacks, growing drones, sliding bursts and this ‘wood drops’ effect that, I learn, is also known as spider fingers – but it’s their reasonable and valid choice and usage that makes the whole output pleasurable to listen and follow. Please consider this is a live recording with no overdubs. The long third track, named ‘2’, has a slow and long introduction moving on powerful low notes layers and evolving in a discordant and avantgardish sound-like-a-piano piece. But as a lover of far feedbacks, delays and diluted and hidden notes my preference goes to the fourth and final track, that can’t be named otherwise than ‘3’.