Sissy Spacek
Entrance
Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
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Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
Estimated Release Date: 04 April 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
Estimated Release Date: 04 April 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Undersung US noise icons John Wiese and Charlie Mumma return with four sides of twisted neo-concrète intensity, scrubbing thru source material from C Spencer Yeh, Marco Fusinato, Tim Barnes, Liars' Aaron Hemphill, Medicine's Brad Laner (fka Electric Company), experimental turntablist Katsura Mouri and Ralf Wehowsky of German noise collective P16.D4. Top shelf material, whether you're into Dilloway, Pierre Schaeffer or Lasse Marhaug.
We'll never know why Sissy Spacek isn't more of a household name. For the last quarter century the duo's been not only incredibly prolific, but consistently fascinating - both live and on record - barreling through noise, punk, grindcore and improv with a level of skill that seems almost unfair to their peers. 'Entrance' plays almost like a lap of honor, memorializing their decades of relentless collaboration with a set of mind-bending tape collages made from sounds scraped from collaborators, old and new. The concept of authorship is out of the window; Wiese and Mumma wanted to approach concrète from a different perspective, so instead of using non-instrumental sources, they asked a web of artists to contribute sounds determined by a "general set of guidelines". So on the 10-minute 'Web of Unfolding Appearance', Mumma's drums are mashed with material from Hemphill, Yeh, Wehowsky and Mouri. Wiese doesn't exactly disintegrate every sound into ferric scrapings, his tape manipulations motor each collage, providing the narrative thrust that makes the material so flawlessly captivating.
The duo's early material was rooted in the interplay between Wiese and Mumma, with Wiese's advanced processes deconstructing Mumma's hyperactive rhythms. And although that element of the sound is here somewhat downplayed, the philosophy stands - Wiese's rhythmic approach to the stems gives the pieces an impulse that's hard to ignore. Scratchy tape noise is deployed next to echoing metal clanks, violin scrapes, smacked guitar strings, sonorous bells and gristly machine burr, and it's the control of dynamics - the tape stops, swoops into silence and harsh cuffs - that stops this from being a mess of improvised pandemonium. We hear a lot of free improv, and to be quite honest most of it's avoidable because it's only momentarily enjoyable, you're either there in person and involved in the motion, or you're listening back to a bunch of cloistered squeaks without real context. This is very different; Wiese's tenacious arrangements make sense of the chaos, showing off each contributor's skills while sculpting the loose, independent parts into a transcendent whole.
Clap yr ears on 'Trancher and the Inheritors', maybe the most "traditional" Sissy Spacek jam of the set, that rolls thru jazz and metal breaks from Mumma and Louisville percussionist/sound designer Barnes, carving them up into abstract, splattered bumps that mimic the squealing, spluttering day-zero synth oscillations. Even the inclusion of buzzing, insectoid violin fuzz from Yeh seems to be an acknowledgement of his long history of collaboration with the duo. And then there's the ominous 'True Dimension (From the Opaque-Spike)' with its haunted, cinematic orchestral swells (which we presume were provided by Wehowsky), spliced by Wiese with Mumma's blitzkrieg drum workouts. It's exhaustingly good stuff - if you've spent any time examining US noise or music concrète, 'Entrance' is gonna be one of the year's most essential listens.
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