Articles
Taylor Deupree
Finn McNicholas

Albums
Shoeb Ahmad
Anklebiter
Arkhonia
Autistici (Reworked)
Jan Bang
Marc Barreca
Bitcrush
James Blackshaw
Bvdub
Christopher Campbell
Celer
Ivan Ckonjevic
Elian
Fos
Goldmund
Sophie Hutchings
Anders Ilar
Richard A. Ingram
Kinetix vs. Pylône
K. Leimer
Lights Out Asia
Lobisomem
Jon McMillion
Nickolas Mohanna
Murralin Lane
Marcus Obst
Oneohtrix Point Never
Oval
Pale Sketcher
Phasen
Tomas Phillips
Posthuman
Proem
Akira Rabelais
Raudive
SE
Shed
Gregory Taylor
Truth
Undermathic
Craig Vear
Zo!

Compilation
Proximity One

EPs
Aufgang
Balkan Vinyl Colour Series
Martin Clarke
Taylor Deupree
Alex Durlak
Flowers Sea Creatures
Thomas Hildebrand
Plant43
Tracey Thorn

Kinetix vs. Pylône: Sonology
Sound On Probation

Sonology, the latest release from the Sound On Probation camp, combines two twenty-minute settings by Gianluca Becuzzi (aka Kinetix) and four shorter pieces by Laurent Perrier (aka Pylône), all of them untitled.

Kinetix's first piece is a prototypical electro-acoustic dronescape of micro-sounds where insectoid clicks, shimmering organ gleam, cavernous rumbles, percussive noises, and electronics combine to form a consistently captivating stream of controlled sound. Becuzzi holds the material to a mid-level simmer throughout, choosing to neither reduce it to a micro-tonal level that strains audibility nor inflame it to so that it becomes a harrowing monstrosity. The first setting segues uninterruptedly into the more wide-ranging second, which at first establishes an industrial and cavernous character before an unidentified French speaker appears, his voice presented in two layers, followed by the cryptic whispers of a female speaker. Intensifying emissions of hiss and static smother the voice until the voice re-appears, now splintered into unintelligible fragments and accompanied by sci-fi warble. Becuzzi then references Alvin Lucier's I Am Sitting In A Room (“I am sitting in a room different from the one you are in now…”) before a seamless transition into Perrier's material occurs. His first piece smolders, growing gradually into a crackling mass of smears and ominous writhing noises, until the mechanoid rhythms of track four take over and eventually morph into the percolating, bass-prodded combustion of the fifth. A swirl of smears and whirrs coalesces into a lulling rhythm that eventually leads into a concluding piece that's as insectoid as Kinetix's opener .

September 2010