Boomkat Product Review:
Emptyset really bare their teeth on Borders, the concrète power duo’s most vicious, uncompromisingly genuine, and coincidentally highest profile release to date, landing on far-reaching independent stronghold, Thrill Jockey.
Whilst James Ginzburg and Paul Purgas’ initial, shocking burst of energy, deployed thru a series of crushing releases between 2009-2015, seemed to tail off a a bit at Signal (2015), they return frighteningly charged and combustible on Borders with a baker’s dozen batch of distended, aggressive, and foundation-rocking pieces that sound like Steve Albini evacuating his bowels on a stone-clad bog in the parallel dimension below his studio. And we mean that in the best way.
Working with their favoured, home-made instruments - a six-stringed zither-like thing, and a drum - they enact a series of inimitably visceral gestures, played and effected with analogue electronics and compression techniques in real time in pursuit of an acoustic truth which, it’s fair to say, they locate and grasp with fearless form across the album, pushing headlong for a biting-point atonality and knotted meter which is unmistakably their own.
It serves an inverted contrast to their previous method of playing sound into unique architectural spaces and processing the results, instead placing more focus on the interaction of skin on skin, skin on string, and the way their intentions spiral from subtle haptic infidelities into a sort of raging, harnessed chaos that transcends electro-acoustic dimensions as much as it blurs the distinctions between performative noise, techno, rock and all that zzaj.
In one felt swoop Borders returns experimental electronic and avant-garde techniques to a sort of No Wave ground zero which, only time will tell, but should surely be hailed as the benchmark for noisy new music in 2017. Don’t sleep!!!