"Celestial" might not be the word you attribute to Garek Jon Druss, who spends most of his time helping amp up the sludge in doom metal outfit Atriarch. But his solo offering, 'Music For the Celestial Din', is a little different, a composition originally made for one of Druss' art installations. Its sound is somewhere between melody and noise, bringing together layers of drone and percussion that sounds like floorboards creaking. It's unsettling, but unlike Druss' old work, it's not gruesome. The original composition is complemented with two remixes from Pete Swanson and Ben Chisholm.
LP on Debacle Records.
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Away from his doom metal band Atriarch, Garek Jon Druss here presents the music from an art installation, 'The Celestial Din', originally presented as a 32-minute loop which played through five paper and wood polyhedron-shaped speakers (as seen on the front cover), based around the frequencies 396HZ, 417HZ and 528HZ "because of their reported human response". This piece has then been re-developed and studio recorded to create the 18-minute soundscape on side A of this record.
For something from a doom musician called 'The Celestial Din' it's a much more pleasant listen than I had envisaged, starting out with some glacial layers of drone that eventually open out into layers of flickering and tinkling and squeaking and cymbal washes before unexpectedly breaking out into a thumping, bassy beat with scraping industrial drones that slowly get corrupted with juddering scree that carves out strange twitching microbeats before melting into a hazy dreamlike ambience. All-in-all it's a well realised sonic journey, and I imagine it sounded amazing coming at you from all directions in the installation.
Over on the other side din-makers Pete Swanson and Ben Chisholm put on their remixing shoes. P-Swan's interpretation is pretty brutal, mixing frantic almost gabber-ish distorted electronic beats and trebly electronic twitches straining out grotesque acid melodies with a hard droney bed of ghostly drone textures. Punishing. By contrast Chisholm's mix focuses on beautiful blurred drones and strange twitching electronic interference, inspiring unease in the listener rather than battering their face in. Three very different pieces here, all worthwhile in their own way.
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