HR094 - Prescott/McGee - A Fish Devoid Of Memory - C90 — 1988
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Side One:
Overboard Side Two: Ridden Hard And Hung Up Wet |
REVIEW by Jerry Kranitz
A Fish Devoid Of Memory was a mail collaboration between David Prescott and Hal McGee, two prolific veterans of the 1980s homemade electronic underground. This C90 consists of two side long excursions.
‘Overboard’ begins with a slowly yet steadily throb-pulsating drone wave. As the volume increases it starts to depict (in my mind) the incidental sounds of a mad scientist’s laboratory. The throb pulses are increasingly drawn out and take on a grungier quality. A drugged engine rev is added, as are various howls and moans. At about 8 minutes in the scene is getting increasingly busy, though everything flows at a mildly intense yet hypnotic pace.
But not for long… it all becomes strangely rhythmic, even ‘musical’, like all the animals in a circus chaotically bleating and blaring in the midst of an air raid emergency. Dave and Hal keep things interesting by playing with the theme. A little Halloween soundtrack here, a bit of war march there, the drone blaring horn of a nocturnal barge, and shades of classic sci-fi soundtrack. If you like avant-psychedelic electronica that’s the audio-art equivalent of LSD, step right this way.
The fun continues with ‘Ridden Hard And Hung Up Wet’, which is similar but starts off in sonic territory that is simultaneously doomier and more playful than Side One. It soon becomes hair-raisingly intense, with multiple competing pulsations, whirring and shimmering tones, and edgy soundscapes that create a sense of melancholy, despite being surrounded by so much activity. By the 9-minute mark we’re up to our eyeballs in a full-blown mish mash of Starfleet clashing with Klingons space adventure, factory operating at full capacity, and symphonic effects assault. I think I hear some voice samples too. The pace and intensity ebb and flow, later getting fairly sedate. At one point it felt as if a spacecraft were hovering for a refuel, with loads of fun miscellaneous surrounding effects. And as the piece winds down the pace gets downright valium overdosed, although the surrounding effects interestingly continue to bubble and bleep at normal speed. And (surprise!) there’s even some brief proggy keyboard melody.
Damn, this tape is the most satisfying 90 minutes I’ve spent all week!
A Fish Devoid Of Memory was a mail collaboration between David Prescott and Hal McGee, two prolific veterans of the 1980s homemade electronic underground. This C90 consists of two side long excursions.
‘Overboard’ begins with a slowly yet steadily throb-pulsating drone wave. As the volume increases it starts to depict (in my mind) the incidental sounds of a mad scientist’s laboratory. The throb pulses are increasingly drawn out and take on a grungier quality. A drugged engine rev is added, as are various howls and moans. At about 8 minutes in the scene is getting increasingly busy, though everything flows at a mildly intense yet hypnotic pace.
But not for long… it all becomes strangely rhythmic, even ‘musical’, like all the animals in a circus chaotically bleating and blaring in the midst of an air raid emergency. Dave and Hal keep things interesting by playing with the theme. A little Halloween soundtrack here, a bit of war march there, the drone blaring horn of a nocturnal barge, and shades of classic sci-fi soundtrack. If you like avant-psychedelic electronica that’s the audio-art equivalent of LSD, step right this way.
The fun continues with ‘Ridden Hard And Hung Up Wet’, which is similar but starts off in sonic territory that is simultaneously doomier and more playful than Side One. It soon becomes hair-raisingly intense, with multiple competing pulsations, whirring and shimmering tones, and edgy soundscapes that create a sense of melancholy, despite being surrounded by so much activity. By the 9-minute mark we’re up to our eyeballs in a full-blown mish mash of Starfleet clashing with Klingons space adventure, factory operating at full capacity, and symphonic effects assault. I think I hear some voice samples too. The pace and intensity ebb and flow, later getting fairly sedate. At one point it felt as if a spacecraft were hovering for a refuel, with loads of fun miscellaneous surrounding effects. And as the piece winds down the pace gets downright valium overdosed, although the surrounding effects interestingly continue to bubble and bleep at normal speed. And (surprise!) there’s even some brief proggy keyboard melody.
Damn, this tape is the most satisfying 90 minutes I’ve spent all week!