Description:	Ltd CD on Sound & Fury Records
	Format:	CD
	Genre(s):	Experimental / Abstract
	Label:	Sound And Fury
	Price:	£12.69
	Availability:	In stock. Dispatched in 1 working day.

4
...according to our Ant on 18 June 2009.

Next in my ears is a CD from Anonymeye on Sound & Fury and it sounds great actually. It's called 'The Disambiguation of Anonymeye'. The first couple of numbers are analogue synthesizer workouts that really pricked my ears up, then a total contrast on 'Hill Loop' he's plucking away at his steel string acoustic guitar then slowly layers of analogue synth buzz build up. As the album progresses it really becomes apparent how well Andrew Tuttle combines the electronic and organic sounds to work in total harmony. I'm digging a lot of the synth tones and pulses on here. Edition of 500 is recycled card sleeve.

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Sound clips for The Disambiguation Of Anonymeye by Anonymeye: on CD at Norman Records UK. CD, Sound And Fury, S&F018, £12.69.

What their label says...

01. Memorandum 1 (1:23)
02. Memorandum 2 (2:09)
03. Hill Loop (6:54)
04. If At First You Don't Secede... (5:31)
05. Diensdag (1:53)
06. Funny!... Not Funny (4:26)
07. Janitor of Luna Park (3:24)
08. Sabbatical from Procedure (6:34)
09. High Tea at Achterhaven (5:02)
10. The Disambiguation of Anonymeye (6:33)

format:
CD

edition:
500

packaging:
recycled card sleeves

&c:
Second album from Andrew Tuttle, aka Anonymeye.
Though still peppered with his rustic steel-string guitar,
The Disambiguation of Anonymeye
sees Tuttle experimenting with analogue synths,
creating a multifacteted listening experience of
deep, dense drones and shimmering overtones.

press:
The tension between the mechanic and organic
in Anonymeye has always been significant -
previous releases on sound&fury, hellosQuare, CURT and Half/Theory
saw Andrew Tuttle's steel string acoustic dismantled in various ways.
However, on The Disambiguation of Anonymeye,
Tuttle has opted not to incorporate each as an individual technique,
but rather to pilot the progression of this album around their interaction.
The first two tracks clock under two minutes each, and both feature
the brutal manipulation of saw tones. These give way, immediately and arrestingly,
to the measured familiarity of Tuttle's guitar:
a masterstroke in the album's construction. As a result, the album becomes
a seething, live mess of sounds, combating for attention -
a fascinating, and occasionally beautiful thing to hear.

-Marcus Whale, The Silent Ballet