Tag Archives: a career in the haw haw haw haw

[Review: Ay Fast, ‘Nice Arps’]

Tuning through the galactic interference of interstellar radio, Ay Fast‘s new album Nice Arps opens with vibrating frequencies.  Eerie darkness floats across the Buffalo-by-way-of-Cleveland artist’s sonic backdrop, rattling distortion bending into jabbering dissonance.  Upbeat waves of “Shriggda” roll outward, hollow conversation beating back and forth between mumbling visitors.

Dropping octaves to “Blue Rabs,” echoed mutterings flit across empty space rising above the shadows cast by a chiming undercurrent.  Syllables stretch across space and time, a chorus of yearning coalescing momentarily before disbursing once more.  Staccato bursts help the darkness flee, eyes gazing starward once more across the heavens.  A moment’s respite sparkling through the night sky.

Meandering toward more earthly locales leads into concurrent conversations gathered unbidden, the gurgling ambiance of a sandwich shop in the “Escaglade” drifts in an out of focus while passing through.  Heading outside after lunch, glitched orchestration “For Shemmmm” pulsing allows rhythm to regain control for a moment before straying back toward darker corners.

Life is jittery at best as this sonic exploration saunters forward.  Surviving the mass-produced madness of every day is a burdensome task for some, endless jabbering distorting through the sounds of community existence.   Metal clacking into one another above the din before the endless whine of productivity grates on. Fast and slow toward the finish, “Shit Tahiti’s” constructed repetition scratches suddenly into a sonic morass buzzing about “Buffy Dragon.”  Slogging across this strange creature’s domain stumbles upon a gathering of the “Fluteish” performing brilliantly amongst the murky gloom.

All pieces pushing air in concerted harmony, Nice Arps draws to a close with woodwind and percussion gliding effortlessly around one another.  Fading back into the dim Ay Fast signs off, looping into the silence.


Review by a career in the haw haw haw haw 

[Review: Skeleton Zoo, ‘The Busride EP’]

Tribal glitchwave with a broad scope, The Busride EP is an excellent offering of “post-elevator music” from Steve Goodwin and Zeek Barnett, who create the exhibits of Skeleton Zoo from Albany, New York.  Taking part in the reinvention of the beat generation a half-century later, their digital concoctions exemplify the global fusion taking place across most genres of music as the twenty-first century marches on.

Skeleton Zoo’s electronic collages reflect the measured madness of society’s impositions.  This dizzying spin through the arrayed skeletons of our present civil constructs opens with simple African percussion. The Busride then quickly climbs into gear as the journey begins, belching distortion and barely intelligible utterings amid the chaotic tribal musings of “Nelson Mandala.”

Gurgling overtones built atop harmonic repetition provide the stage for a flurry of samplings spanning humanity’s exhibition.   Dreamy glitchwave builds the ambiance, allowing hazy glimpses of half-remembered moments to drift across consciousness before receding once again.  Whispered words and scratchy rhymes smoothly flit about the painfully soulful reminder that “time will heal.”

Passengers exchange the ride for a stroll through the nonsensical dreamscape of Willy Wonka.  Echoing rhythms built around Gene Wilder’s half-mad crooning spurs the listener onward through shimmering walls of resonance.  Into the chaotic “Colorless Dystopia” of our future, sonic accoutrements of the past left behind in the face of memory.  Whizzing through the wasteland left behind by excess, a blurred world helps make everything a little clearer, xylophone firing into silence.

Returned to the present, we find the bus rolling through frozen expanses of electronic orchestration.  “Snowdrifts” shift, whisked into new configurations, the road behind quickly swallowed up by the drifting accumulation. Fuzzy murmurs and a single string, the path suddenly shining as the guides veer eastward through the pastures of the Skeleton Zoo.

Skeleton Zoo’s pair of curators engineer mesmerizing sonic displays for their visitors.  Harps and mysticism fill the air before chanting floods a horizon of plodding “White Elephants.”  Newsreel narration, chanting shamans, and a slew of orchestrations layer precisely, “a heavily bearded remnant of the beat generation.”  Strings and samples of the white man’s lackluster attempts to easily define what lies beyond understanding coalesce into a fleeting look at the world as it was.

Into the lonely night and skyward, The Busride stares upward as the expedition darkens.  Specters float across the inky blackness, stars shining through the gloom to eerie warbling.  Glitchy echoes of dub as a haunting voice caresses the loneliness of the witching hours.  Gears shift, the dimness pierced by the glittering “Rainbow Road” that floods the windshield.  Hip-hop rhymes and synthesized technicolor speed pilgrims back into the silence of their thoughts as things shimmer to the close.

Check out their work for yourselves via the world wide waste.  Cost: free dollars on their bandcamp site.


Review by a career in the haw haw haw haw 

[2011 In Review: Ay Fast, ‘Always Crying’]

Ay Fast, Always Crying (Schematic)

Meshing madness, life, and a slew of electronic vibrations, Ay Fast’s Always Crying slices through eleven tracks at varying speeds.  An organized cacophony, the soundscapes produced byAdrian Bertolone span a host of electronica’s self-described sub-genres.  Ambient, dubish and glitchy by turns, the online offering presents a glimpse of our crumbling future.

Mechanical reverberations open things up as “Chirped Off That” spacily swirls passed, echoing transmissions and setting the stage over an eerie backdrop before moving toward earthbound madness.  A lazy island cadence bleeds into furiously flashing lenses and bouncing bass wobblings.  “Eat The Camera” then offers some needed advice to the ever growing legions of image obsessed earthlings.

Experimentation merging with composition, Bertolone’s sonic imagery stems from the society our forbearers left for our corruption.  “Kong Doom” opens with news of a failed drug test, clicking into a spin through the radio dial as a business decides they made the wrong choice based on a laboratory report.  The tempo picks up as life continues gliding by despite humanity’s hurried scurryings across its face.

Off kilter beats continue funneling into sampled life, children laughing through distortion and stuttering records.  A murky middle heads toward a more finished product as Always Crying rolls into a trio of longer tracks to finish things.  A little more sinister; a darker look at where we’re going emerges.

This is a Rust Belt native producing tracks seemingly inspired by the crumbling cities rampant greed has left behind for America’s children.  Shuddering mechanics bring things to a close not far from where they started, uncertain and less than hopeful about where things are heading.


Review by a career in the haw haw haw haw