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Body/Dilloway/Head

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cover imagePast experience has taught me not to get too excited about promising-sounding collaborations between great artists, but the allure of this particular project was admittedly damn hard to resist: Body/Head is consistently the most provocative and intense of Sonic Youth's descendants and Aaron Dilloway seems absolutely incapable of releasing a disappointing album these days.  Still, there is never any way to predict which threads will assert their dominance when distinctive visions collide, so there are a number of possible shapes that this album could have taken.  To my ears, it is Dilloway's broken, murky, and obsessively looping aesthetic that mostly steers the ship, but the balance between the three artists is sufficiently unpredictable and shifting to make this trio feel like something quite different from either Dilloway's solo work or past Body/Head releases.  Matt Krefting already did a fine job of summarizing the trio's shared vision with "over and over one gets the sense that the music is trying to wake itself from a dream," but it is also more than that, as this trio have a real knack for slowly transforming gnarled and challenging introductory themes into unexpected passages of sublime beauty.

Three Lobed

The album is comprised of two longform pieces separated by a shorter piece ("Goin' Down") and each one feels like a different direction or even an entirely different band.  In fact, the album art does a remarkably great job at conveying what the music is like: a handful of recognizable elements chopped up and re-assembled into a nearly unrecognizable abstraction.  The opening "Body/Erase" is the most "Dilloway" of the three songs, as it features a long, slow fade in of subtly oscillating drone and warped tape warbles that feel like an unsettling dream where conversations are slowed and smeared into something inscrutable and vaguely sinister.  Gradually, the gnarled tape loop fragment become more frequent and violent, blossoming into a jabbering, splattering phantasmagoria that starts to become even more unhinged shortly after the nine-minute mark with the appearance of an ugly repeating buzz and an insistent pedal tone from Nace's guitar.  Once all the elements are in place, "Body/Erase" becomes a massive, seething juggernaut of layered cacophony. 

In the wake of that slow-burning tour de force, some more recognizable and expected elements surface with "Goin' Down," which initially sounds like a classic Sonic Youth single that has been stretched and deconstructed into abstraction.  I dig the repeating howl of warbling guitar noise, but the real payoff is the squelching, wobbly, and ruined reverie of the final minute.  The album then ends with its wildest, most go-for-broke piece, as the shapeshifting 13-minute epic "Secret Cuts" alternately sounds like the slow boinging of a massive cosmic spring, a noise guitar show frozen in looping suspended animation, and the hushed voice of an angel speaking from inside my head ("do you want?" is the only phrase that I can reliably make out).  Some of the transitions between segments can be a little jarring (purposely, I presume), but all of the segments themselves are compelling and lead to a lovely set piece of warm, swelling drones and flickering voice fragments.  It is damn lovely while it lasts, but an earlier noise guitar motif unexpectedly claws its way back from the grave to end the piece on an ugly, gnarled note.  I cannot say that I am particularly surprised that Nace and Gordon were so game to let Dilloway drag their vision through a meat grinder or that the end result was so good, yet I was legitimately caught off guard by the ephemeral oases of beauty that occasionally surface.  While this can admittedly be a prickly, difficult, and potentially room-clearing album at times, it is also a singular and unusually memorable release for all involved (no mean feat, given the massive, highlight-filled discography of the trio).

Samples can be found here.

Last Updated on Monday, 29 November 2021 12:26  


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