The title track of “The Waste Land” is an unusual example of soundwalking- strolling about gathering atmospheric found sounds and ambiences. While the process often leads to broad and relaxing soundscapes, this is a willful inversion, heavily processed, twisted and alienating. Strong gusty winds and heavy industrial noises of unknown origins lead to a scene that’s almost post-apocalyptic in its atmosphere. At times it sounds insular, almost claustrophobic, with noises akin to deep breathing noises recorded from underneath a coat. Over the fifteen minutes of the title track the sounds evolve fairly rapidly- at points there’s just a single layer, then before too long there are four or five competing noises.
“Voices From The Coal Mine” is an exploration of reverberation in a gigantic enclosed space- sporadic metal hits and scrapes fade into the distance with incredibly long echo tails which begin to layer and form their own, wall-and-material-born hum.
“My Extra Personal Space” is initially a slightly more typical and familar soundwalk- village sounds of gates, passing cars, church bells and birdsong- but as it progresses, further metallic hums and tubular resonance begins to cut through, as though something very sinister is afoot in the previously peaceful town. It all gets a bit “Village Of The Damned” in soundscape form. As it evolves further we move from Normandy to Paris, with more urban noises, metro announcements and suchlike, as though we’ve travelled more in time than in space.
“The Waste Land” is an unusual hybrid of found sounds and treatments, infused with a lot of energy. It covers a lot of ground in 37 minutes and is certainly an interesting, if not always comfortable, journey. Stuart Bruce
via Chain DLK