This sort of restraint has often been a prelude toa blizzard of harsh noise in Karkowski's past work. KHZis successful because it develops in a gradual manner, rather thansimply being an exercise in quiet/loud interplay. This calm atmosphereeventually gives way to rapid clicking, analog patterns which hover ata moderate volume, and help the piece achieve a sense of movement. By24 minutes these hums and buzzes have become a much louder chorus ofshifting electronic pulses that are a massive payoff. The next fourminutes are an excellent study of the interplay between thisall-enveloping drone and some subtle, high-pitched staccato rhythms.The arrival of a brief noisy section towards the end is barelynoticeable due to the gradual accumulation of intensity thatcharacterizes the flow of the piece. Karkowski benefits greatly fromthis collaboration, as it seems to encourage his (relatively) subduedside. It is to their credit that the pair have restricted the length ofthis piece to 45 minutes, resisting the temptation to fill the CD toits capacity. While too many abstract sound artists explore only oneend of the sonic spectrum, Karkowski and Davidson have succeeded inproducing a work that focuses on the way these elements can worktogether. It is uncertain what relevance the only sleevenote,"rebounding=junk of life" -R. Selavy, has to the sounds containedwithin, but any alliance with Marcel Duchamp's feminine alter-ego is agesture to be applauded. samples:
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