[eh?96]Felipe Araya
Punata
[eh?95]Eoin Callery
Oakum
[eh?94]noisepoetnobody
Fissure
[eh?93]Bad Jazz
Daymare
[eh?92]Ernesto Diaz-Infante
My Benign Swords
[eh?91]Larnie Fox
In The Cathedral of Airplanes
[eh?90]Tom Djll
Cassette19
[eh?89]Leonard * Day * Jerman
Isinglass
[eh?88]Das Torpedoes
Qu Nar
[eh?87]Ben Bennett & John Collins McCormick
Pluperfect
[eh?86]Daniel Wyche
Our Severed Sleep
[eh?85]Seeded Plain
Spill Containment
[eh?84]Bad Jazz
Bad Dreams In The Night
[eh?83]Chefkirk & Andrew Quitter
Kaiju Manifestos
[eh?82]Venison Whirled
Tetragrammatones
[eh?81]Gary Rouzer
Studies and Observations of Domestic Shrubbery
[eh?80]Unrepeatable Quartet
Edmonton 2012
[eh?79]Stefan Roigk
Unpredictable
[eh?78]Lucky Bone
Borderline
[eh?77]Jeffrey Alexander
No Sacred Snow, No Sacred Show
[eh?76]Bruno Duplant / Pedro Chambel / Fergus Kelly
(Winter Pale) Red Sun
[eh?75]Horaflora
Live
[eh?74]Graves / Kreimer / Wilsey / Bachmann
The July Amalgam
[eh?73]Sky Thing
Virgin Journalist
[eh?72]Cactus Truck
Live in USA
[eh?71]Various Artists
Hammer, Anvil, Stirrup
[eh?70]Alice Hui-Sheng Chang, Park Seungjun and Jin Sangtae
Live at Dotolim
[eh?69]Edward Ricart & Tim Daisy
Yiu Ja Ley
[eh?68]Chagas And Schafer
Gesture To The Declining Sun
[eh?67]Superlith
Plasma Clusters
[eh?66]Jeff Kaiser / Nicolas Deyoe
Chimney Liquor
[eh?65]Close Embrace of the Earth
At the Spirits Rejoice Festival
[eh?64]Jean-Marc Montera & Francesco Calandrino
Idi Di Marzo
[eh?63]Un Nu
Recoupements
[eh?62]Bailly / Millevoi / Moffett
Strange Falls
[eh?61]Jacob Felix Heule & Bryce Beverlin II
Intersects
[eh?60]Foust!
Space Sickness
[eh?59]Dislocation
Mud Layer Cake
[eh?58]Strongly Imploded
Twilight of Broken Machines
[eh?57]CHEFKIRK
we must leave the warren
[eh?56]Hag
Moist Areas
[eh?55]Eloine & Sabrina Siegel
Nature's Recomposition 33
[eh?54]KBD(uo)
Any Port In A Storm
[eh?53]Eckhard Gerdes
!Evil Scuff Mud
[eh?52]Psychotic Quartet
Sphaleron
[eh?51]Federico Barabino
Can You Listen To the Silence Between the Notes?
[eh?50]Soaf
Dynammo
[eh?49]Yana
The Fruit Witch of Ancient Salamander
[eh?48]Ember Schrag
Jephthah's Daughter
[eh?47]Massimo Falascone / Bob Marsh
Non Troppo Lontano
[eh?46]Delplanque / Oldman
Chapelle de l'Oratoire
[eh?45]The Epicureans
A Riddle Within a Conundrum Within a Game
[eh?44]Croatan Ensemble
Without
[eh?43]Man's Last Great Invention
None.
[eh?42]Sad Sailor
Link to the Outside World
[eh?41]Ricardo Arias / Miguel Frasconi / Keiko Uenishi
Object
[eh?40]Andreas Brandal
This Is Not For You
[eh?39]Gamma Goat
Beard of Sound, Beard of Sand
[eh?38]John Dikeman / Jon Barrios / Toshi Makihara
We Need You
[eh?37]David Moscovich
Ass Lunch
[eh?36]KBD
Four Plus One
[eh?35]Brekekekexkoaxkoax
I Manage To Get Out by a Secret Door
[eh?34]Diamondhead
Dirty Realism
[eh?33]Jesse Krakow
World Without Nachos
[eh?31]DBH
Wave the Old Wave
[eh?30]Bryan Day
Four Televisions
[eh?29]Giraffe
Hear Here
[eh?28]Nagaoag
Yama Labam A
[eh?27]Shelf Life
Rheuma
[eh?26]Papier Mache
2
[eh?25]Papier Mache
1


CHEFKIRK - we must leave the warren
CD-R (Eugene, OR)



-vegan buttermilk
-quiet parts of in-between
-gross pyramids
-overcoming anxiety, again!




Roger H. Smith - No-Input Mixing Board & Sampler

Reviews:
(Monsieur Délire) This one is hitting me where it hurts - so to speak. You see, Roger H Smith (aka Chefkirk) is working the no-input mixing board a lot like I do. Four 10-minute pieces of experimentation with the feedback possibilities opened by a mixer with nothing plugged in but itself. Relatively sedate music, well controlled (I tend to get wilder on this instrument). - François Couture

(Touching Extremes) We’re all acquainted with how a no-input mixing board works, aren’t we? Since the early age of David Myers (aka Arcane Device) until Toshimaru Nakamura’s brilliantly subtractive business, the pluralities of ever-changing shapes, abysmal droning purrs and barely contained feedback spurts have gained a more or less official existence in our listening habits. Add to the short list of practitioners of this art the name of Roger H. Smith, who in We Must Leave The Warren presents four pieces of manipulated frequencies (two of the tracks are augmented by the use of a sampler). Nothing truly hot gets added to the familiar recipe, but what Chefkirk does is absolutely on average with the conduct of his acknowledged fellow moulders. The alternance of stabilized whirr (slowly growing in thickness and quivering, but immobile just the same) and convulsive zaps amidst aleatory sequences is utterly assimilable – and at times very beautiful to hear – throughout the 51 minutes of this disc, which needs to be played loud in order to extract its finest scents. - Massimo Ricci

(Sound Projector) Chefkirk is the American Roger H Smith, whose insane electronic music I first heard in 2003 with the release of 38-40cm. On We Must Leave The Warren (EH?57) he’s working mostly with a no-input mixing board and a sampler on these home-produced recordings from 2010 and 2011. He seems mainly concerned with the generation of deep electronic sighs and yawns, which fill the space of the warehouse where he’s currently building his 30-foot tall mechanical man. You may find yourself growing impatient at the apparent lack of development in these minimal sub-bass droners, but the single-mindedness of his mental trajectory has a certain grim appeal. I seem to recall his music being somewhat more agitated than the languid and unhurried tones on offer here, where each track takes about 11 or 12 minutes to traverse the metal-tiled floor rolling along on small mechanised wheels like a tiny vacuum cleaner. But check out Chefkirk’s back catalogue and I’m sure you’ll find instances of livelier digital mayhem; he’s a prolific guy. - Ed Pinsent

(Kathodik) Bel tipetto prolifico, l'americano Roger H Smith (Chefkirk). Maggiormente agitato, in precedenti occasioni, con “We Must Leave The Warren” ci rilassa (quasi piacevolmente), lungo cinquanta minuti di produzione casalinga, per no-input mixing board (con l'aggiunta di un sampler, in un paio di episodi). Largo dunque, a frequenti scricchiolamenti di segnale (soprattutto nel primo movimento), che inducono ad attenzione estrema (preservar l'impianto audio, è un bene...), per poi, tutto sommato, acquietarsi in un reticolato di statici ronzii, drones inquietanti, scartavetramenti d'alluminio in lontananza e sub subbissimi. Che, ad un ascolto a volume elevato, non squarcian nessun velo, ma offrono minimali, tremolanti percezioni alterate, invero niente male (l'ultimo, opprimente episodio). Se ne esce saturi, con le pareti interne rimbiancate di fresco, e nessuna voglia d'altro, almeno per qualche ora. Barcollando nel silenzio, si aprirà il frigo, rimanendo immersi nella sua fioca luce. Un minuto, un altro ancora. Polvere in sospensione. E qualche dado per il brodo, ad osservarci dallo scomparto sportello. - Marco Carcasi


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