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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
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