Here we have the debut 'noise architecture' release from cultured Londoner Jire (aka Nathan Geyer) which promises to combine elements of modern classical, screwed field recordings, and dance music. A name that jolts to mind here is the legendary Tim Hecker, so expect some weird but sublime sounds.
7/10 Laurie Staff review, 13 November 2014
Londoner Nathan Geyer has built a house out of sound for himself under new Jire moniker, henceforth proclaiming the birth of ‘noise architecture’. Could you live in a house made of noise? You’d have a distorted rave siren for an alarm clock and the doorbell would be nuts. Well, Geyer seems to be enjoying it a fair amount, constantly playing with the plumbing and upgrading the conservatory.
At first it appears that the record will consist of unstructured noise, before a 4x4 kick enters after the first minute or so of the opening track. The EP is a sort of melting of multiple electronic styles, mixing them together, then smelting them into some unfamiliar but functioning machine. Rhythm is hinted at but never relied on, abrasion is moulded like putty and melody is a carefully placed treat. It’s rooted in the schools of Ekoplekz and Jetone while timidly venturing into techno and Raster Noton territory. The fact that this bloke sits on the same label as Karen Gwyer should give you a good idea of his style.
The opener shares its quirks with the first Percussions 12”, all smothered in clunky snippets of sound and polyrhythms, before sounding pretty windswept during ‘Materiality Notion’. Side B uses this same formula but takes the noisier aspect to the extreme - behemoths of audio nonsense and looped voices rise to static peaks during B1, becoming a soft, cold gale on closer ‘Kel’. It is here that melody rises out of the mist, crossing the bridge into ambient territory. The often disparate noises sometimes struggle to form a complete whole, a common trap for noisy releases, but for a debut this is very promising indeed.
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