From Barbie is a bitch fanzine (no contact details, Spanish I think):

Klunk - Infrathin

by Cristina Bosco

I was tired of click+cuts bands, but when Klunk comes along he totally ravish me away! This is the obscurely, slackening, most minimal release in aeons! Like a mutation between Tetsuo Furudate and Akira Yamamichi, the new wave noise sound of Klunk mixes-up disturbing loops, occasional ominous resonances and a gnarled pitches from yuor most repressed nightmares. Six long and slow songs; there is no better release for our fears than listening to a heavy dose of Klunk. I believe this is a one-man project that has been around for a while and if he manages to keep this level of insanity throughout the next albums we might be looking at a cult band here. Get this 37 minutes CDR now!!! by writing to Fencing Flatworm Recordings (Robert Hayler). An absolutely essential release for every fan of veritable, purebred sound.


KLUNK - Infrathin (Fencing Flatworm; England)
Mmm-mm. English "aural scientists" use electronic blips, static, typewriter,
kitchen utensils, ambient sounds, etc. to organize these non-"musical"
elements into rhythms that seem like the skeletal remains of actual songs.
And yes, insects . . . gnawing . . . tasty wood chips. Eddie Flowers at www.slippytown.com

Klunk - Infrathin

More evidence that all kinds of musical life teem beneath the paving slabs of Leeds, Infrathin is as unpretentiously eccentric as a five-dimensional bowl of Rice Krispies. Literally, the sounds of snap, crackle and pop electronica-style; however that's 'pop' in the sense of pop music only if you happen to be a giant robotic moth from planet Klunk. For everybody else, Infrathin is a record so bewildering that the first three listens float about a metre above the brain's aesthetic judgement department, as tiny, typewriter-esque beats and fizzling interference outbursts compete in a seemignly random fashion. Slowly, however, some sense starts to creep in, and, as if in the aural equivalent of a Magic Eye picture, the squeaks and scrathches become strangely evocative. 'F.G.K.', for example, with its muffled cavernous keyboards and echoing percussion suggests a distorted view of life from underneath the bathplug. Other tracks take on the aspect of nature documentaries, sounding like the carnivorous crunchings of amplified insects, or the wibbling of herds of andriod guinea-pigs, whilst final track 'fluxus + [plus]' creates a menacing soundscape where a vibrating hum and machine-gun-like cricket chirps become swamped by a huge apocalyptic fluttering. For all its 'come and have a go if you think you're robotic enough' demeanor, Infrathin is perversely enjoyable, creating a funny feeling in the head as your brain struggles to grow new neurons to cope with it, and if you don't love it then the toaster in your life will." (review by Abi Bliss) Leeds Guide, available all over the place in Leeds.


Klunk - Infrathin

klunk-klick springs to mind, it's all little beeps and clicks and whirrs, electronic buzzes, so so soothing after a long day's toil, light a mokie and relax to this "soul" music. Admittedly, if someone like old Barry White was singing over this it would probably sound even better, if only for the ridiculous juxtaposition, but this is an ace CD, nice and short, bizarre and almost sexual in its private internal sounds of computer life. Sunny Days Out, 27 Mount Pleasant, Reading, RG1 2TF


Klunk - infrathin

The first thing you will hear on this disc is a sort of electronic clicking sound not unlike a recording of a grasshopper or other similar insect. As the track progresses more sounds are added slowly, one by one, until it evolves into a seemingly organic manifestation. The second piece 'of:klunk' is the longest track on the disc (10+ min.) and consists of several short samples of varying frequency, some of which are utilised as loops. This whole piece is so perfectly executed, Klunk have managed to maintain the dynamics of an individual sound in conjunction with others of disparate character. The 6 tracks in this CD have all achieved a feeling of spatiality and randomness. The overall flavour can be interpreted as minimalistic but still seems to be ever evolving. The final track is a lovely collage where all the different sounds work so well with each other. I can't recommend this enough, if this was a 'music mag' I'd have to give it 5 stars. But this isn't so all I can say is that the next time you pay £12.99 for a bernhard gunter or David Jackman 'go-nowhere' CD you could have bought this instead (and have a night down the pub with the savings).Review from Cheeses International, August 2001 (mail order service and newsletter - focuses mainly on hard/abstract electronics and experimental musics) 15 Liverpool Road, Islington, London, N1 0RW steve.cheeses@btinternet.com