Of the small stack of releases by Crawl Unit that have slowly accumulated on the shelf over the past decade, Everyone Gets What They Deserve in particular is worth revisiting regularly. Crawl Unit is the pseudonym of Joe Colley, a self-motivated, drone-oriented musician who resides in Northern California. Everyone Gets What They Deserve, released on C.I.P. Records in 1999, contains six recordings, totaling nearly an hour of cautiously layered industrial noise. The album reverses the common pop format, from whisper to scream, and instead descends from the sort of distant hum that might keep you up at night, to the kind of slightly overheard resonances that would make you shutter, if you were certain you’d heard them in the first place. The depth of Colley’s sound can best be communicated by what is not heard — that is, by the contrast between listening to this album on a pair of Walkman-style “ear buds,” and letting it play out loud on a proper stereo. “Holy Static,” the album’s opening track, is a thick chant, like some mechanistic Tuvan throat singer on autopilot. The closing track, “Flicker (Elapsing State of Grace),” makes “Holy Static” sound pastoral by comparison; it maps a sequence of sonic irritants, from a bug-like buzz to a threatening slab of white-noise, with a momentous silence somewhere in between; voices emerge at a remote distance, and eventually the quietness is threatened to be overrun by the motor in your CD player. On common small headphones, these tracks might merely sound thin and trebly, like a nearby river, or perhaps an emergency broadcast signal on a neighbor’s television. Heard aloud, so to speak — that is, on speakers at a comfortable room volume — the effect is bodily, three-dimensional. The debate over the proliferation of MP3 files has been hijacked by mere commercial concerns. Of far greater significance, one might argue, is the increasingly prevalence of poor sound quality, in MP3 files as in everyday headphones. At a time when sound quality is being ignored in favor of convenience, Joe Colley makes sound art that commands attention to details.
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• October 13, 2016: This day marks the start of the 250th weekly Disquiet Junto project.
• November 16, 2016: I'll be sharing the mic at Adobe Books in San Francisco with my fellow 33 1/3 author Evie Nagy for an evening hosted, from 7pm to 10pm, by Marc Kate (facebook.com).
• December 1, 2016: A likely speaking engagement. Details to come.
• December 13, 2016: This day marks the 20th anniversary of Disquiet.com.
• January 5, 2017: This day marks the 5th anniversary of the Disquiet Junto.
• Ongoing: The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.
• My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, published as part of the 33 1/3 series, an imprint of Bloomsbury, is now in its second printing. It can be purchased at amazon.com, among other places.
disquiet juntoThe Disquiet Junto is an ongoing weekly collaborative music-making space in which restraints are used as a springboard for creativity. Subscribe to the announcement list at tinyletter.com/disquiet-junto. There is an FAQ. ... These are the 5 most recent weekly projects: • 0273 / Alarm Clocked / Make music for a (new! improved!) slow-waking alarm clock. • 0272 / Exoplanetary Intervals / Use music to express the relationships between planets. • 0271 / Prison Sky / Mark the 5th anniversary of open-source software engineer Bassel Khartabil's detention. • 0270 / Just Duet / Record the second half of a duet live. • 0269 / Duet Portion / Record half of a live duet.
... And there is a complete list of projects at disquiet.com/junto.
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