(Disaster Amnesiac) Apologies for the long delay in Disaster Amnesiac describing and enthusing: between being somewhat drained in the listening capabilities from recent posts, fighting a motherfucker of a cold, and having to attend to things on the personal side of life, I was just not in the mood to review. As is always the case, a package from Bryan Day served to remedy those uninspired types of feelings. This time around, Eh? Records sent over their fresh new tape from noisepoetnobody, Fissure. Disaster Amnesiac has been listening to it for a little over a month now, and its vibes have had me coming back to one key concept that seems to drive the Public Eyesore/Eh? mission: interactive experimental sound production is the key to the ever-growing label. Fissure surely cleaves to that guiding aesthetic. Its two pieces, both further subdivided into halves, feature noisepoetnobody on springs, strings, boards, e-bow and looper engaging with Evaline Muller on bowls, bows, blades, and metal objects. This duo coaxes many types of sounds from their relatively simple collection of gear, all the while sticking to said interactive approach. Drones, clangs, warbles, knocks, clicks, rings, all heard to emanate from one player, while the other astutely comments, adds, or simply keeps quiet as their partner's ideas ring out. The listening satisfaction comes from the way in which nobody and Muller are clearly interacting in thoughtful ways. On Fissure, there's never a sense of rushing to get to any destination; on the contrary, there's a delightfully zen aura to all of it, even when the stakes get raised in the volume department. This is music created from listening, and it seems to me that a ton of thought, aimed toward interactivity, was utilized in its creation. As such, it's great for deeper listening or as a sonic backdrop to whatever else one has to do at home. Fissure's tones, seemingly created from a place of interactive collaboration, will surely seep into the listener's consciousness from either method. - Mark Pino

(Revue et Corrigee) Une autre histoire de percussion avec Noisepoetnobody, accompagné d'Eveline Müller pour la pièce « Fissure », enregistrée à Seattle en novembre 2016. Point de fieldrecordings ici mais un jeu de timbres. Et je peux vous garantir qu'avec tout appareil cassette ayant un minimum de réglage dans les aigus, parfois dans la vitesse, on peut s'en donner à coeur joie dans les timbres ! Une percussion métallique, en cloche, ou à l'aide de bols. Des timbres profonds, qui finissent par tournoyer avec ce léger effet de boucles (« looper » dans le texte) par Noisepoetnobody. De la musique sacrée ? Oui un peu. De la musique industrielle ? Oui beaucoup, à chercher du côté de chez Small Cruel Party parfois. De la musique répétitive ? Oui un peu. De la musique organique surtout, et donc physique. Unebelle fissure à tous les sens du terme... - Cyrille Lanoë

(Chain DLK) I had previously reviewed Noisepoetnobody’s work with Vance Galloway, titled “Uranium 238,” which I enjoyed for its “subdued experimentalism,” so I was interested to see how this would be different from that collaboration. In the liner notes, we see the following credits: Eveline Müller: bowls, bows, blades, metal objects. noisepoetnobody: springs, strings, boards, e-bow, looper. This gives some sense of what we are in for, and the music does not disappoint. This consists of two tracks, one per side, titled “Part 1” and “Part 2.” On first glance, “Part 1” seems somewhat chaotic, but as you continue to listen to the compositions, one can begin to see the structure of the tracks coming together. Crashing noise, bits of pounding percussion, gonglike bowls, and just a touch of feedback thrown into the heavily processed sounds make for an interesting listen. But this is not just something that you can put on and then read. Their use of silence and quiet passages continually pull you back in, demanding your attention. “Part 2” opens much more aggressively, leaving you to think that this is going to be a relentless wall of noise, but then suddenly pulls back. The rest proceeds much like Part 1, with a lot of clanging and more resonating of the singing bowls. Overall, this was a good time and would appeal to people who like it noisy, but not to the point of harsh noise. - Eskaton

(The Wire) The solo project of Seattle based Casey Jones (perhaps also a soubriquet?), Noisepoetnobody is beholden to no single instrument or style. On this tape, in duo with Eveline Müller, the sounds are based on percussion played and handled in a variety of ways. It ranges from coarse Industrial huzz to struck prayer bowl sequences and clanging of many hues. Sometimes meditative, sometimes annoying as heck. - Byron Coley

(Sound Projector) All-percussion music on Fissure (EH?94) by noisepoetnobody, who is joined by Eveline Müller on these 2016 recordings made in Seattle. While Müller takes the relatively conventional route of striking bowls and bowing pieces of metal, noisepoetnobody performs on his array of springs, wooden boards, and such; outside of the e-bow and the “looper”, it looks like electronics were kept to a minimum. Slow, ritualistic, deliberate; the soundtrack to a mysterious ceremony that cannot be understood. - Ed Pinsent