by Freq | 2017-09-04T09:51:53+00:000000005330201709 09:51
After the excellent atmospherics of Medusa’s Bed, Ms Lunch returns, this time on the other side of the mixing desk for her second excursion with violinist and noise-maker Mia Zabelka. The mistress of the strands, Lydia’s pulling this baby round as producer and joint composer, filling the canvas in de/re-constructive urges, sprinkling a tactile thesaurus of futility and generally vandalising the timelines for the greater good.
Noisy cuts of violin hit you first, and by the second track the intensity frays frantically around, becomes a screechy, wasp-filled panorama that mauls the mezzanine and pulls you around like a saliva-soaked dog toy. Things get more cerebral for the next descent into an eerie, oozing wound of a landscape replete with slow lacerations, curling vocals and exploding sonic nuggets that paint the inside of your skull. The aura of Medusa’s Bed haunts, but this remains way more vivid than its predecessor, sulphuring your head with sombre hints of melody over tattered distortion and vaporised moan.Cellular Resonance is an absolute gem on headphones that visually burns behind your closed eyes like some psychotic 3D friction of tangled debris and grainy whispers. Eleven minutes of pure pleasure that is followed by a spacey reprieve, a glisten of tapering synthlings curving in a reverbed suspension that’s quickly punched away in an overdriven Dornier drone agitated in latex-clad splashes and interjective stabs. It’s impressive how varied a violin can sound as the final track hits the headphone highs once again, percussively clambering over sabre(ing) mousetraps fiery with Merzbow-like scorchologies. If sonic detailing is your thing, this is going to tick plenty of your boxes.
Source URL: http://freq.org.uk/reviews/mia-zabelka-cellular-resonance/
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