Now if you like no nonsense, foot to the floor electronic noise then you will find this pretty remarkable stuff. It’s nigh on impossible to describe this without recourse to complete hyperbole or wild imagining of the most florid kind.
…this is an exciting listen, though very much reliant on you the listener being in a receptive mood for this vigorous and uncompromising set of aural gymnastics. As it’s been recorded live, there’s a sort of warm fuzz that lends a sort of protective sheen to the experience – but even so this is a record for a quiet hour where you attention has to be fully tuned.
read the rest here.
…The first track is split in two sections and offers a good overview on her qualities and attitude. There is a great control over musical dynamics and distortion and a very personal tone. You could say that all the techniques are actually enough widespread – piercing feedbacks, growing drones, sliding bursts and this ‘wood drops’ effect that, I learn, is also known as spider fingers – but it’s their reasonable and valid choice and usage that makes the whole output pleasurable to listen and follow. Please consider this is a live recording with no overdubs. The long third track, named ‘2’, has a slow and long introduction moving on powerful low notes layers and evolving in a discordant and avantgardish sound-like-a-piano piece. But as a lover of far feedbacks, delays and diluted and hidden notes my preference goes to the fourth and final track, that can’t be named otherwise than ‘3’.