UEVPD
UEVPD
Boomkat Product Review:
Dominic Goodman (of legendary YYAA imprint fame, and before that, the excellent Hallso label) goes it alone on his UEVPD debut, piping cryptic environmental recordings - captured using an arsenal of mics - thru his bare-bones modular setup. Stark, pitchy and minimal, it's skillful gear that's required listening for anyone into Mika Vainio, 'Blossoms'-era Emptyset or Hertsi.
Also known for his bold art-rock deconstructions as one half of Komare and (formerly) as 1/3 of DIY iconoclasts Mosquitoes, Goodman organizes five years' worth of untitled electro-acoustic experiments on this debut for choice London emporium and imprint World of Echo. Working ascetically with a purposefully limited set of tools, he edited the tracks as "living recordings" that were shaved back over time to reveal their true nature. Starting with a set of specialist microphones - geophones and hydrophones as well as dynamic, condenser, contact and electret mics - he made a series of recordings that are the foundations of each piece, even if they're often tough to perceive on the finished pueces. Only the faintest high frequency crackles remain on the opener, scratching and scraping while a single oscillator warbles in the foreground.
The restraint exercised is hard to overstate - it's not exactly quiet music, but it's claustrophobically hushed to the point where the tiniest sounds have a spatially crushing affect. Pinprick glitches begin to sound like scurrying insects when they're matched with heaving, bass-heavy drones and blurry, industrial textures. Goodman's alloy of underwater clangs - think Thomas Köner's 'Permafrost' - and indistinct scrapes are punishingly grim, but not bogged down by the usual Dark Ambient aesthetic baggage. Just as Mosquitoes challenged preconceptions of avant-rock and improv, flipping comfortable tropes on their head, Goodman does the same with dimly-lit electro-acoustic soundscapes, reading from the same playbook but interpreting the language very differently.
High grade.
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Boomkat Product Review:
Dominic Goodman (of legendary YYAA imprint fame, and before that, the excellent Hallso label) goes it alone on his UEVPD debut, piping cryptic environmental recordings - captured using an arsenal of mics - thru his bare-bones modular setup. Stark, pitchy and minimal, it's skillful gear that's required listening for anyone into Mika Vainio, 'Blossoms'-era Emptyset or Hertsi.
Also known for his bold art-rock deconstructions as one half of Komare and (formerly) as 1/3 of DIY iconoclasts Mosquitoes, Goodman organizes five years' worth of untitled electro-acoustic experiments on this debut for choice London emporium and imprint World of Echo. Working ascetically with a purposefully limited set of tools, he edited the tracks as "living recordings" that were shaved back over time to reveal their true nature. Starting with a set of specialist microphones - geophones and hydrophones as well as dynamic, condenser, contact and electret mics - he made a series of recordings that are the foundations of each piece, even if they're often tough to perceive on the finished pueces. Only the faintest high frequency crackles remain on the opener, scratching and scraping while a single oscillator warbles in the foreground.
The restraint exercised is hard to overstate - it's not exactly quiet music, but it's claustrophobically hushed to the point where the tiniest sounds have a spatially crushing affect. Pinprick glitches begin to sound like scurrying insects when they're matched with heaving, bass-heavy drones and blurry, industrial textures. Goodman's alloy of underwater clangs - think Thomas Köner's 'Permafrost' - and indistinct scrapes are punishingly grim, but not bogged down by the usual Dark Ambient aesthetic baggage. Just as Mosquitoes challenged preconceptions of avant-rock and improv, flipping comfortable tropes on their head, Goodman does the same with dimly-lit electro-acoustic soundscapes, reading from the same playbook but interpreting the language very differently.
High grade.
Boomkat Product Review:
Dominic Goodman (of legendary YYAA imprint fame, and before that, the excellent Hallso label) goes it alone on his UEVPD debut, piping cryptic environmental recordings - captured using an arsenal of mics - thru his bare-bones modular setup. Stark, pitchy and minimal, it's skillful gear that's required listening for anyone into Mika Vainio, 'Blossoms'-era Emptyset or Hertsi.
Also known for his bold art-rock deconstructions as one half of Komare and (formerly) as 1/3 of DIY iconoclasts Mosquitoes, Goodman organizes five years' worth of untitled electro-acoustic experiments on this debut for choice London emporium and imprint World of Echo. Working ascetically with a purposefully limited set of tools, he edited the tracks as "living recordings" that were shaved back over time to reveal their true nature. Starting with a set of specialist microphones - geophones and hydrophones as well as dynamic, condenser, contact and electret mics - he made a series of recordings that are the foundations of each piece, even if they're often tough to perceive on the finished pueces. Only the faintest high frequency crackles remain on the opener, scratching and scraping while a single oscillator warbles in the foreground.
The restraint exercised is hard to overstate - it's not exactly quiet music, but it's claustrophobically hushed to the point where the tiniest sounds have a spatially crushing affect. Pinprick glitches begin to sound like scurrying insects when they're matched with heaving, bass-heavy drones and blurry, industrial textures. Goodman's alloy of underwater clangs - think Thomas Köner's 'Permafrost' - and indistinct scrapes are punishingly grim, but not bogged down by the usual Dark Ambient aesthetic baggage. Just as Mosquitoes challenged preconceptions of avant-rock and improv, flipping comfortable tropes on their head, Goodman does the same with dimly-lit electro-acoustic soundscapes, reading from the same playbook but interpreting the language very differently.
High grade.
Boomkat Product Review:
Dominic Goodman (of legendary YYAA imprint fame, and before that, the excellent Hallso label) goes it alone on his UEVPD debut, piping cryptic environmental recordings - captured using an arsenal of mics - thru his bare-bones modular setup. Stark, pitchy and minimal, it's skillful gear that's required listening for anyone into Mika Vainio, 'Blossoms'-era Emptyset or Hertsi.
Also known for his bold art-rock deconstructions as one half of Komare and (formerly) as 1/3 of DIY iconoclasts Mosquitoes, Goodman organizes five years' worth of untitled electro-acoustic experiments on this debut for choice London emporium and imprint World of Echo. Working ascetically with a purposefully limited set of tools, he edited the tracks as "living recordings" that were shaved back over time to reveal their true nature. Starting with a set of specialist microphones - geophones and hydrophones as well as dynamic, condenser, contact and electret mics - he made a series of recordings that are the foundations of each piece, even if they're often tough to perceive on the finished pueces. Only the faintest high frequency crackles remain on the opener, scratching and scraping while a single oscillator warbles in the foreground.
The restraint exercised is hard to overstate - it's not exactly quiet music, but it's claustrophobically hushed to the point where the tiniest sounds have a spatially crushing affect. Pinprick glitches begin to sound like scurrying insects when they're matched with heaving, bass-heavy drones and blurry, industrial textures. Goodman's alloy of underwater clangs - think Thomas Köner's 'Permafrost' - and indistinct scrapes are punishingly grim, but not bogged down by the usual Dark Ambient aesthetic baggage. Just as Mosquitoes challenged preconceptions of avant-rock and improv, flipping comfortable tropes on their head, Goodman does the same with dimly-lit electro-acoustic soundscapes, reading from the same playbook but interpreting the language very differently.
High grade.
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Edition of 250 in hand printed, die cut sleeves.
Boomkat Product Review:
Dominic Goodman (of legendary YYAA imprint fame, and before that, the excellent Hallso label) goes it alone on his UEVPD debut, piping cryptic environmental recordings - captured using an arsenal of mics - thru his bare-bones modular setup. Stark, pitchy and minimal, it's skillful gear that's required listening for anyone into Mika Vainio, 'Blossoms'-era Emptyset or Hertsi.
Also known for his bold art-rock deconstructions as one half of Komare and (formerly) as 1/3 of DIY iconoclasts Mosquitoes, Goodman organizes five years' worth of untitled electro-acoustic experiments on this debut for choice London emporium and imprint World of Echo. Working ascetically with a purposefully limited set of tools, he edited the tracks as "living recordings" that were shaved back over time to reveal their true nature. Starting with a set of specialist microphones - geophones and hydrophones as well as dynamic, condenser, contact and electret mics - he made a series of recordings that are the foundations of each piece, even if they're often tough to perceive on the finished pueces. Only the faintest high frequency crackles remain on the opener, scratching and scraping while a single oscillator warbles in the foreground.
The restraint exercised is hard to overstate - it's not exactly quiet music, but it's claustrophobically hushed to the point where the tiniest sounds have a spatially crushing affect. Pinprick glitches begin to sound like scurrying insects when they're matched with heaving, bass-heavy drones and blurry, industrial textures. Goodman's alloy of underwater clangs - think Thomas Köner's 'Permafrost' - and indistinct scrapes are punishingly grim, but not bogged down by the usual Dark Ambient aesthetic baggage. Just as Mosquitoes challenged preconceptions of avant-rock and improv, flipping comfortable tropes on their head, Goodman does the same with dimly-lit electro-acoustic soundscapes, reading from the same playbook but interpreting the language very differently.
High grade.
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