It’s good to see an artist that’s known for a more traditional approach to noise branching out into something that undoubtedly flies in the face of all noise conventions. But, when does a trope become a schtick? With the release of Bermuda Drain
, I was really excited to hear a piece of music that was simultaneously intimidatingly melodic and fearsome. This ethos is carried over in to Time’s Arrow
well, but in a way that makes me fearful of what the future holds for Fernow and his compositions. This EP feels like studio B-sides for Bermuda Drain
, in that the first few tracks could have come from that album and I’d know no different. I guess it’s just my appreciation for the approach that’s evinced on both albums that makes me apprehensive.
Time’s Arrow is a solid listen for an EP. While you won’t sit down to read and drink tea or have a nice conversation over Maskless Face or Slavery in the Bahamas, other tracks on the EP provide a more structured counterpoint that makes the hammering industrialized noise stand out as an excellent genre example. While I can see a method to Prurient’s madness, I can only hope that it doesn’t devolve into a copy and paste effort that lays down hefty synth lines over metallic drumming and spoken word abstractions.
Time's Arrow has the sound that the LP should have had consistently.ReplyDelete