By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Old Bombs are Brooklyn's most noisome artists, and their Audios is at the apex of the big pyramid of computer cut-paste-and-smish-into-a-blob. The album is nothing so pedestrian as Throbbing Gristle's "Hamburger Lady," and it greases the synchronized screams interleaved with shattering beer bottles of SPK's Leichenschrei.
So frankly, it's the music of a CD left too long near the heating vent: the harmonious glitching and scratching that result when the laser can't read the fried and faded dye used to encode digital sound. There's a great cutI don't know the name of it, "Audio Number something or other"with Doppler shifts sweeping the very high frequency spectrum, causing that pleasant pop in your eardrum when a shrill squeal passes beyond the human capacity to hear it.
Part of the Cage/Asmus Tietchens/Chrome Red Exposure/Mnemonists/fillinyourfave fun of Audios is said to be the identification of not properly licensed samples. I think I can hear about 10 seconds of the riff from "Willie the Pimp" on it. But I might be mistaken, hmm, hmm.
Brandon Stosuy on Carlos Giffoni