[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


Venison Whirled - Tetragrammatones
CD-R (Austin, TX)



-Jump Inn
-Elena
-Sea Of Air
-Final Circle




Lisa Cameron : Snare Drums, Amplifiers, Contact Mics, Berimbau

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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