As Wolf Eyes continue to swing between incredible ‘weird shit’ andtypical ‘black tar noise’ releases, their presently MIA member AaronDilloway is eclipsing his sometime cohorts. Under this new strictlycassette pseudonym, and many other aliases, he has been honing hisprevious abattoir dregs noise bursts.Hanson
SpineScavenger moves in a region of far more interesting and controlledsound structures, albeit blood-rusty ones. Starting with some healthyabuse of the hulls of underwater wrecks “Side A” moves judderingly intoa rhythm of plodding engines plops. Building in volume this selectionof sheer steel pitches soon rises to a boiling insecticide cry. Cheapdigital overlaps smooth this out into low thudding encircling brickwall of rhythm sounds. Much like most of his better solo work Dillowayappears to be exercising considerable restraint, refusing to open theoily throttle into the red.
The flipside is a more obviouslyhands-on exercise, pulling on the pigtails of slender electronic tones.A noisy thudding chocolaty splurge manages to balance insistence andabandon in the same rushes. It shoves and pulls within its loosecomposition like a prolapsed heart being slammed into meaty lungs andfat covered ribs. There’s an almost proggy sense of stellar skies ashigh spacey drones shoot off into the atmosphere like rusty comets.Where these might normally fall to earth as large crumbly noise chunks,here they ratchet at the ears like knives on radiator grills. Aboutthree quarters of the way in there’s a more human element introduced.Drops of distant reverberated child’s vocals wobble through the song,sounding like they were pulled from some playground field recording.Usually you’d expect a member of the Wolf Eyes posse to milk this forfull creep-out factor, but this is used more in a weird dub elementstyle. Dilloway’s extra curricular music is taking leaps and boundsbeyond his both his European and American peer’s fulltime bands.
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