Boomkat Product Review:
Finally re-pressed. Blending the current trend for all things noisy with something altogether more 'composed' we end up with a curious concoction of Cliff Martinez and Wolf Eyes, stopping at planet Badalamenti for a strong cup of Joe ("black like midnight on a moonless night"). Frost's primary influence (and sound source...) for the album was Michael Gira's seminal noise-rock band Swans, an influence which bubbles majestically on the album's central piece, cunningly titled 'We Love You Michael Gira'. The track starts simply enough; shifting, moody synthesized tones sitting eerily next to shivering waves of guitar noise before both give way to the sort of glacial blip-work that would make Mika Vainio jealous, and then it hits you; chunks of percussive noise that enter the sound-field like a serial killer bursting into the family home, gritty and abrasive, raw and untamed. The Swans factor isn't lost in this track, it's something that needs to be played so loud that it almost hurts the eardrums for full, visceral effect and proves as if proof be needed that Ben Frost is a rare producer who really knows how to use the loud as it should be used. This isn't music that is compressed into bland nothingness, this has dynamic, when the loud parts hit you, they really hit you - and strangely enough this gives the quieter sections even more resonance. When the album's gorgeous opening track 'Theory of Machines' builds finally into a short, fuzz-ridden climax you truly feel it in full spine-tingling glory, it becomes one of those tracks you just have to play again and again to re-capture the feeling. The album closes its pneumatic doors with the eleven-minute epic 'Forgetting you is Like Breathing Water', which is as majestic and soulful a piece of electronic music as you could possibly hear. In synthesized tones Frost creates a blissful symphony of machines, a piece of music closer to Michael Nyman or Max Richter than to Autechre of Aphex Twin.