Venetian Snares exists in his own abstract world of recursive beats and paranoid switchbacks. Anything that strays into his world becomes a part of it, for instance a dolphin that can be heard midway, before being flattened and forced into the continuum of shuddering fractals. This is the most dynamic of his releases I've heard, with Snares' throbbing electronic echo softening slowly over time into a delicate, crystalline mirror of itself.
Favorite track: Misericordial.
We played Venetian Snares' new EP 'Your Face' to three septugenarians:
P: "I'd like to say when it started off I liked it very much indeed. And then it goes into this music which seems.. 'disjointed' I felt, and then the sort of interruptive noises came in. And that bothered me."
F: "More or less the same. I found the beginning very good. Very restful and I enjoyed it. When the beating started, with the rhythm, then is when.. it's beyond my comprehension. And there must be some merit in doing that sort of thing, but I can't understand it."
P: "I couldn't imagine dancing to that, or even 'moving' to it in a way, so I find it disturbing, yes. You hear some lovely music, I feel, underneath it all. You're just beginning to enjoy that and then you get this top lot coming over, which is interrupting and disturbing it, you know, and you think 'I want to hear more of the other' because that sounds as if it's good."
E: "Well that was interesting. It's something I could listen to, which is something I can't always do with techno, but erm, what I don't like is anything with banging beats in the background, that's just me. But the actual different sounds are interesting I think. It's Just that I didn't like things that go thud, thud, thud. Yes, it's quite.. for me it's not excruciating."
F: "The beats were more rhythmic in this one, so they were not so disturbing. I understand a little bit what was going on, but I enjoyed the background music."
E: "Again, this one's a bit too sort of thudding for my taste, but the actual tune of it, yes, that's interesting. Not something I would 'choose' to listen to. It's too heavy, the drumming stuff, whatever it is, the bass. But I like the tune part of it, it's quite pleasant. Sort of slightly bell-like sound. Quite nice, sort of like dream music or something? I just can't take all the big beats."
P: "Again, the bottom bit's lovely. It's really nice that bit. This isn't bad. I quite like this actually. I like this. I like this far more than the other, because you could listen to this and imagine that you're walking somewhere. You can imagine scenery around you to this one. I can relate much more and enjoy this one. You would sit and let your mind wander. I think you could be in nature with this music, that's my feeling about it. I like this one, do you F?"
F: "Yes, I think this music would go very well with some film or television, erm, provided it's not very loud."
E: "I like that one, it makes me think it could be like the background to some sort of film thing, but also it's like a dream sequence sort of thing."
P: "I really liked that one - the end one I really liked. Are there any instruments at all?"
A perfect example of how avante-garde heavy music should be approached. This album constantly keeps you on your toes with surprising and powerful transitions, using absurdity in a musical way without sounding gimmicky or harming the overall song structures. Tristan Feilla