Boomkat Product Review:
Opal Tapes' sixth batch kicks off close to home with fellow Teessider, Rejections' industrial dread missive, 'Resin In The Filter'. The follow-up to Michael Hann's debut pair for his own Reject & Fade label and Jehu & Chinaman builds on the dystopian, Ballardian themes with a 50 minute trespass into a world of buckled and burned out digital noise and toiling techno rhythm. Invoking William Burroughs' idea that "language is a virus" via use of manipulated raw data recycled from "e-mails, images, and memories and sonics built up over a seven month period… to meditate on the cacophony of narratives which have infected and distorted our reality since the fall of the Tower of Babel" it's possible to say that Hann achieves his concept through the feeling of abstract confusion, paranoia and claustrophobia created by his banking noise harmonics and roiling, unrepentant rhythms swarmed with what-may-be voices from the ether, and indistinct, hallucinatory shapes looming from his choking atmospheres to metaphysically alter your environs. Hailing from the very same landscape that inspired the smog-belching vistas of Ridley Scott's Blade Runner, it's no wonder Rejections music sounds as it does, and should acutely appeal to fans of the bleaker sonic fictions.