One man, eight LPs, an arsenal of FX, and more channels than you can shake one of those offensively large Sports Direct bags at, Misc.’s second release wastes no time in doing what the label, in general, is in the business of: running with ideas, however stringent or heretical, to the point where distinctions start to break down, preconceptions to break up, and perception to break apart...
In each of Cacophonies’ cacophonies, every track from an unspecified (albeit hinted-at) classic album is played simultaneously, each unit patiently processed to fit with the rest, in turn creating an all-new – generally abstract, at times abject, occasionally euphoric – sonic landscape, one lacking the ‘face’, but bearing the traces, of the source in question.
By considering every song-channel as an instrument of a larger whole – and at root, this is exactly what Cacophonies does – the essence of the original album is distilled, through a maze of analogue and digital effects paths; smoke & mirrors nuclear fallout from the planned demolition, by detonation, of an erased antecedent.
Capping things off in suitably cannibalistic fashion, cacophony 9 is (de)constructed from the Cacophonies album itself, making it in one sense a pleasingly exercise-concluding recapitulation, in another, an excremental final emission forced out at the death: the last gasp; the phantom of the opera; the ‘cack’ of the ‘ophony’.
Two men, two guitars, some drum machines, software, and a basement. Recorded over a series of frantic one-take jams somewhere in the middle of fucking nowhere, Dungeon Ballads is the sound of two distinct – although not distant – worlds colliding: that of the band (in this case, of the punk/shoegaze variety), and that of the club (read: gritty haus/tekno rave in a shed in Poplar).
Digitally framed, shaped and manipulated, undercut with analogue drum loops and motorik machine grooves, Kessler V’s debut LP is nevertheless a fully, at times full-throttle, ‘live’ affair, warts n’ all very much to the fore, for all that there are nods to Raster, Namlook/FAX and The Sight Below (to name but some of Ballads’ electronic reference-points).
The point of the project is not to tritely ‘trick’ the listener into thinking that they’re listening to something they’re not (or vice versa), but to push past the limitations of a humble, DAW-anchored set-up and cramped surroundings, into a widescreen space defined by force, feeling, and good old-fashioned fervour.
And indeed, sonically, the final results – three extended wig-outs set up by a drone – are palpably more ‘rock’ than ‘laptop’, ear-bleedingly angular, abrasive, electrified and piercing, pointed at the heavens like a sawn-off with skag needles for bullets.