Reviews:
(Raised by Cassettes) A Pole Position type of bass line takes us into this symphony of electronics with distortion. This is the full on modem vibe. As it cuts through, it becomes more harsh and it just feels like a system trying to reboot. If robots were programmed to feel, this might be that expression. A harsh wind comes through, blowing that distortion, and then the electronic lightning follows. This is a storm reigning down and it is out to destroy the empire. All goes quiet with the ringing of the telephone sound. Distortion blasts slowly build back up. It can feel like Transformers, but we're also finding a rhythm. This can break down in a mechanical way, as there are these almost pinball tones going through with it all. A big wind storm of distortion comes back to cover it all as well, as this whole thing just feels like we're once again in the eye of the hurricane. The beeps feel a bit like droids talking to each other and then it drops into this deep bass line which feels like it goes up and down- like when they monitor you being alive at the hospital- and as it hits the high peak it makes a sharper tone. A slower, sort of acoustic strum feeling now as we go into the next song. That sound of stone is spinning. Some whirrs come in as if we're bending the wind and you can hear those drops on metal. This all turns into chill guitar notes and it just feels like we're drifting on a desert island somewhere. Big bass notes come in to take over that sound and bring it to an end. Onto the flip side now and there is a mechanical sound which can feel hypnotizing to start and then it drops off into harsh distorted clouds. A ringing now. The suspense of this is slowly building. It's that sci-fi laser gun feeling now as whirrs make us also feel like a spaceship is preparing to take off. Electronic wind chimes and the thump of a beat with it make this sound feel like we're in a horror film now, so of course I'm in space and thinking of the looming threat in "Alien". It can feel like we're going into a trumpet of triumph feel, but softer. There is also this sort of nostalgia feeling to this sound now, as if we're trapped inside of a memory. A pluck and we drop off into some chords, as this becomes more guitar based now. This has turned into a warm guitar loop with a little bit of a crackle. As this feels like it could be lulling us into sleep, a sharper electronic modem vibe comes through and then a higher pitched tone as well. This really feels like it could be setting the tone for us being in space and our ship falling apart, piece by piece, until there is nothing left. - Joshua Macala
(Vital Weekly)Behind Lunt, we find Gilles Deles-Velins, who has been releasing music since the early 2000s, with albums on Another, Carbon, and his own Unique Records. I reviewed three of his works (Vital Weekly 934, 480 and 422), and I admit I have no idea what they sounded like. Deles-Velins plays the guitar alongside objects, effects, and amplification. In my previous reviews, I don’t recall the word ‘noise’ being used frequently, but on this short (23-minute) cassette, there are quite a few instances of it, especially on the first side. There is some lovely, controlled feedback and distortion, mixed with finger picking. However, I enjoyed the other side even more, as here the atmospherics come to the foreground, even when the music has a roughness, adding to that atmospheric quality. It tinkles away, drifting slowly, rumbling and stumbling, and there is the occasional noise outburst at the start and towards the end, as if to say: this is where it’s coming from, or this is what precedes it. I’m not sure, but I immensely enjoy this approach; noise is good, atmospheric noise is even better. - Frans de Waard
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