HR185 - Lucy Godard - Gender Justice - C60 — 1990
SIDE 1:
ABUSE OF THE FATHER
SIDE 2:
FELTFAT
ABUSE OF THE FATHER
SIDE 2:
FELTFAT
Review by Jerry Kranitz
Lucy Godard is one of several aliases under which the late sound artist Minóy recorded. The Gender Justice cassette album consists of two side-long tracks.
‘Abuse Of The Father’ kicks off fast and furious with distorted samples of hard rock and jazz, before settling into a continually evolving collage of edgy ambience, tornadic noise and a medley of samples. Minóy periodically shocks with abrupt cut offs into silence, which are picked up again by sampled speeches, blasts of rumbling, clattering noise, music samples, and varied mixtures. There are quieter passages too. One is a dreamy, spacey but tensely atmospheric mixture of ambience, distant voices, hip-hop music, cars starting and other field recordings. If there’s a theme, it’s the recurring preacher giving a discourse on Islamic topics.
‘Feltfat’ starts off in deep space with freaky effects and some 1960s sounding pop song playing in the distance. Machinery begins to take over, distortedly blending with the music and creating a psychedelically industrial vibe. The style is similar to Side 1, though in this case the samples are more varied with newscasts, commercials, pop music and more, sometimes presented with clarity and at others folded into harsh and weirdly spacey industrial soundscapes. Significantly, Minóy lingers for several minutes on a radio show with listeners calling in to talk about depression and other psychological issues. No competing sounds, just a singular focus on the callers.
Overall, this is classic mished, mashed and blended collage work. It’s as if Minóy created this tape for an Experimental Tape Collage 101 class.
Lucy Godard is one of several aliases under which the late sound artist Minóy recorded. The Gender Justice cassette album consists of two side-long tracks.
‘Abuse Of The Father’ kicks off fast and furious with distorted samples of hard rock and jazz, before settling into a continually evolving collage of edgy ambience, tornadic noise and a medley of samples. Minóy periodically shocks with abrupt cut offs into silence, which are picked up again by sampled speeches, blasts of rumbling, clattering noise, music samples, and varied mixtures. There are quieter passages too. One is a dreamy, spacey but tensely atmospheric mixture of ambience, distant voices, hip-hop music, cars starting and other field recordings. If there’s a theme, it’s the recurring preacher giving a discourse on Islamic topics.
‘Feltfat’ starts off in deep space with freaky effects and some 1960s sounding pop song playing in the distance. Machinery begins to take over, distortedly blending with the music and creating a psychedelically industrial vibe. The style is similar to Side 1, though in this case the samples are more varied with newscasts, commercials, pop music and more, sometimes presented with clarity and at others folded into harsh and weirdly spacey industrial soundscapes. Significantly, Minóy lingers for several minutes on a radio show with listeners calling in to talk about depression and other psychological issues. No competing sounds, just a singular focus on the callers.
Overall, this is classic mished, mashed and blended collage work. It’s as if Minóy created this tape for an Experimental Tape Collage 101 class.