For an album that is right at forty-six minutes long, it sure does seemto last an enternity. The entire record is basically a series of tonesaccompanied by various passages concerned with or describing sexualperversions. At first this seemed like an exciting enough prospect:Andrew Liles associates Aural Anagramwith the various productions of Hans Bellmer. Bellmer was one of thefirst post-Dada surrealists, his self-portrait appears on the cover andI assume that the artwork in the liner notes is either inspired ordrawn by him. The primary sketch on the liner notes depicts a nudewoman on her hands and knees with her lower torso "x-rayed" to revealher womb and sexual organs. At the same time, she is pleasuring threedifferent men who are shown only by the presence of their penis. It's astrange image to be sure, but none of the sexuality in the picturemakes it into the music in any way. Each track sounds remarkably thesame with various vocal samples describing various perversities orsexual observations made from a nearly medical standpoint. Nothingchanges throughout the duration of the recording: many of the tonesused have the same color and feel throughout and much of the vocalsamples simply repeat themselves into boring oblivion. It sounds morelike one long recording than a series of nine compositions inspired byan explicit artist. It may be my hormones talking, but with a premisslike this, the album certainly could've been more exciting and retainedits rather dark and ominous atmosphere. In the end, that is what makeseverything about this recording so dull: it's too dark for too long andwith little to no variation in the bleakness of it all. It's aninteresting exploration of an artist and an idea but it fails as acomposition as a result of being far too limited in scope. samples:
On the other hand, the remix album included with the first one-hundred copies of Aural Anagramis a more cohesive, varied, and interesting exploration of droningsounds and sexual expression. Instead of being a series of nine trackslike the original was, Anal Aura Gram is four tracks tiedtogether very closely so that the recording can be experienced as awhole. By cutting the album down by ten minutes and condensing much ofthe original material, Liles creates an almost deafening world. Itisn't deafening because it's overly loud or overpowering in any way,it's just that the sounds used produce the aural equivalent ofclaustrophobia. Every sound has a tactitle quality, whether it isfeathery softness or the cold feeling of making a discomfortingobservation. More melodic elements are present than on the original andnot so much time is devoted to near-silence or frustrating repetition.The vocal samples are used more sparingly and multiple textures areused throughout so that nothing overstays its welcome. This sort ofattention to detail adds to the eerie and dire feelings that wereattempted on the original mix: various melodic tones float like bubblesand are flourished by rolling sparkles in piano-like ascents anddescents. Small buzz-saws cut away quietly in the background whileother alien sounds stutter and chop their away across the soundspectrum. Here and there feminine moans and abrupt cries appear anddisappear within the mix creating a vaguely erotic tension whilemaintaining a secretive tone that hints at violence, destruction, and(somehow) infidelity. There are fewer overtly sexual references made,but the ones used are both exciting and unsettling. The remixes areeverything Aural Anagram could've (and should've) been, so those interested should grab a copy before they all disappear.samples:
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