Reviews:
(Disaster Amnesiac) Disaster Amnesiac is familiar with Venison Whirled mostly by way of Bill Shute's Kendra Steiner Editions (go buy some of this product!), and news of her eh? release was highly exciting to me. Shute has told me that Lisa Cameron is a great trap set drummer, and coming from the long-time underground music fan and supporter, I believe it; that said, if it's normal beats or rhythms that you want, these Tetragrammatones are not necessarily the droids you're looking for. Instead, Cameron utilizes contact mics on snare drum and berimbau to create long, standing wave drone tones.Three of the tracks of on this disc are, per the liner note, directly inspired by a fourth, Sea of Air, and all of them have the auditory quality much akin to infrasound if played loudly. By this, I mean that they establish internal organ quaking tones that rumble mightily. At any volume, one's musical payoff is commensurate with how much one listens. As is the case with so many other Minimalist forms, the amount of attention paid is directly equivalent to the amount of aesthetic satisfaction delivered. While listening to Tetragrammatones, Disaster Amnesiac often had similar thoughts as those experienced from staring at amethyst crystal arrays. This one has real power, especially when cranked up high! - Mark Pino
(Vital Weekly) Music by Lisa Cameron, also known as Venison Whirled, has been reviewed a couple of times before (Vital Weekly 774 and 881), as well as collaborative project she's doing with Nathan Bowles under the banner of Undercarriage. The first encounter was short, noisy and powerful, like a brutal version of the music of Alvin Lucier. On the second release she used more sound sources, which showed a more subtle approach towards the nature of drone music by playing sounds inside a space, using objects, instruments and electronics. On this new release she uses a little bit less instruments: snare drum, amplifiers, contact microphones and berimbau, which is a Brazilian string instrument. On four snare drums she placed a contact microphone each and by using amplifcation she creates feedbacks, which in turn makes the snares on the drum vibrate. I am not sure where the berimbeau fits in, but maybe it's resonating or humming somewhere too? The longest piece here is a twenty-two minute live recording and it's the ideas she has about spatial moving of sound in its most crudest and noisiest form. It's not very well worked out and is perhaps a bit too long. I liked the other three pieces better. 'Elena' was the most minimalist execution of this piece, with drones humming like motors on a small boat, and 'Jump Inn', the shortest piece opening the release, with a very powerful, very present drone. 'Final Circle' at the end was my favourite piece, in which the music became almost like a physical object, beating the eardrums in a confrontational way, and seemingly present on a wide acoustic scale. - Frans De Waard
(Kathodik) Di Lisa Cameron da Austin, avevamo parlato in occasione della sua precedente uscita su Kendra Steiner Editions, “The Many Moods Of Venison Whirled”. In quel caso, la percussionista e compositrice elettroacustica istantanea, proponeva un panorama lisergico, grondante di feedback. Non proprio consigliato a tutti, ma le antenne di qualche sinistro individuo, avevan trovato più di un buon motivo per vibrare. La grana esposta in “Tetragrammatones” par leggermente più fina (ma pur sempre per frequentatori della frontiera). Sconquassi ululanti che parevan brandelli di corpo rock abbattuto (ieri), una visione/percezione statico/ascensionale (l'oggi). Elettroacustica isolazionista (per chi necessita di sigle), in disposizione ambientale in apparente stato immobile. Mics a contatto, dei rullanti, amplificatori e berimbau. Di azione corporea e utilizzo acustico degli spazi a disposizione. Feedback in innesco trattenuti , profonde stratificazioni di pelli sfiorate e cordiere tremolanti, la risonanza metallica del berimbau. Quattro estese tracce riprese dal vivo. Come un profondo respiro. - Marco Carcasi
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