Friday, 20 February 2015


"electric injuries"
Year:    2017
Label:    Aussenraum
Format:    LP
Tracks:    6
Time:    40 min.
Genre:    electronic
Style:            Noise            Experimental

Jim Haynes on the album: "electrical injuries was designed as an intense record. something akin to a sustained self-immolation. the themes of corrosion and dislocation central to the research. similarly, the source material and the means of production also maintains a lineage that dates back to my earlier compositions and designs. i still use shortwave radio, electric disruptions and varispeed motors along with a smattering of synthesized sound that have recently blossomed from a long-term residency at the recombinant media labs. i find myself deliberately pushing these tools to engage with more volatile frequencies and to pursue more aggressive strategies for upheaval. the ruptures are more acute. the harmonic dissonance is more pronounced. in this context, the concepts mentioned above become more existentially stark, eschewing the poetics of residues in favor of an accelerated disintegration. torn, ripped, blown apart, dissolved in acid, left to rot, atomized, electrocuted." 200 copies on 180g vinyl, cut by Flo Kaufmann, mastered by Giuseppe Ielasi.
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"throttle and calibration"
Year:    2016
Country:    US
Label:    Helen Scarsdale Agency
Format:    CD
Tracks:    5
Time:   35 min.
Genre:    electronic
Style:            Abstract            Experimental

In 2015, Jim Haynes accepted a residency at MoKS in the village of Mooste, Estonia to collaborate and contribute to Simon Whetham's Active Crossover series. For this particular incarnation of Active Crossover, well over a dozen international artists were invited to this region of Estonia to collect field recordings and engage in a cross-pollination of ideas, strategies, and concepts that spawned from those recordings. The refuse from Soviet-era industrial farming complexes, the droned blur of aeolian harps, massive oil tanks, and the torrent of noise from the Arctic wind ripping through an empty water tower -- these were some of the sites that this chapter of Active Crossover archived, with each participant encouraged to trawl through the archives in use of composition, performance, installation, etc. Throttle and Calibration is the first in a series of albums that find Haynes digging through the Active Crossover archive and grotesquely exaggerating the details into exploded compositions of volatile dynamics, nerve-exposed dissonance, caustic shortwave signal abuse, and a considerable amount of scarred metal. Marked as one of the more discordant works to date in Haynes' career, Throttle and Calibration finds company near the atonal compositions from Hermann Nitsch and the sour, industrial collages that pock the Nurse With Wound catalogue. Previously released digitally on Crónica, Throttle & Calibration is fleshed out with an additional 20 minutes of material.
(*Review by "Experimedia" ).
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"The Shudder Of Velocity"
Year:    2014
Country:    US
City:    San Francisco
Label:    Noisendo
Format:    CD
Edition:    100 copies
Tracks:   3
Time:    22 min.
Genre:    electronic
Style:             Ambient             Noise

“I rust things” are the first three words of Haynes’ artist statement, which goes on to explain Haynes’ fascination with degradation, across a variety of media. We here at Forestpunk are obsessed with all things aged – that either appear or actually have been lost in the tall grass, or lying next to the side of the ride. Time and it’s effects is one of the topics we are most interested in – the melancholy of nostalgia, or the romanticization of distant times. The Shudder Of Velocity is an attractive longform collage of coruscating grey/black noise, Geiger counter radiation clicks and shortwave radio transmissions, plucked from the either. The effect is of taking a sandblaster to the lacquer of an Anselm Kiefer painting, and falling into it’s depths.   “Tear” kicks things off, with a distant rumble, like pressing yr ear up against a TV tuned to static, before the bottom drops out, and drops you in the swirling ambient void. It reminds us of all that is right and (un)holy with both dark ambient and harsh noise, while avoiding the perils of each. First off, every scrape, rub, and blemish sounds hand-recorded, and placed. This is no mere plug-in, plugged-in, and left to do it’s business (not that there’s anything wrong with that, but it’s hard to find the time to listen to such things). The static and cacophany sounds analog, like small, cheap radios, and fritzing TVs and tape recorders. It stands up against the best and most obsessive of the HNW merchants, Bördel Noïr, The RitaThe Haters and their battalion of grinding wheels. This noise emerges from a backdrop of echoing, cavernous winds, that sound like lost souls, and a radioactive cloud, that could be what walking around inside a sonar sounds like. “Tear” avoids the boredom and unoriginality of a lot of dark ambient material, and instead focuses on it’s ability to evoke deep space. This is what i imagine it would sound like to be floating in inky blackness, with disembodied radio signals and gamma rays whizzing past yr eyes, causing interference in yr headset.  Coming off of such meditative stasis, the noise blast of “Scald”‘s haunted Tibetan hunting horns is truly startling, only to return you to the vacuum. The horns herald the rending of the veil, filling deep space with whispering spectres. Like those Hubble pictures of Heaven and Hell.   “Stifle” is the shortest of the 3 tracks, at a mere 9:30, and is mostly floating ambiance, more void, more drift. It also sounds like what Thomas Carnacki might hear, inside of one of those haunted bedrooms, or Quatermass might’ve encountered, in those industrial ruins. The radar drift suddenly explodes with a distant, thunderous drum, the only hint of a rhythm in the whole affair. Indicating the end of the ritual. Or the beginning, the coming of the beast.  You’ve got to love anybody that fosters a new appreciation of harsh noise or dark ambient. Haynes’ is an interesting artist, that I can’t wait to hear more from. & Handmade CD-r’s are still available from Noisendo .
(*NOTE = this review was written on June 6, 2014 by in the musical blog: Best New Music)
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"the incident with a ghost"
Year:    2013
Country:    US
Label:    Hooker Vision
Format:    LP , cassette
Tracks:    2
Time:    40 min.
Genre:    electronic
Style:            Abstract

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"the wires crached"
Year:    2013
Label:    Editions Mego
Format:    CD
Tracks:    3
Time:   35 min.
Genre:    electronic
Style:            Drone            Noise

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