Speedranch^Jansky Noise

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Given the attention that Speedranch and Jansky Noise have received in the innovative music press (see Wire, October 1998), it's surprising that their sound hasn't been more frequently copied -- even more so since they're known to use the shareware audio program Audiomulch as a primary compositional tool. Perhaps the lack of imitators has to do with the perceived audacity of the group or just the prevalence of niches in the IDM world. On this, both groups' debut CD, they strive for audacity. Speedranch and Jansky Noise pull tracks from across the musical spectrum, sampling Stock, Hausen & Walkman, 2nd Gen, DJ Olive, and Mix Master Mike as well as getting production assistance from friends James Plotkin and David Shea. Throw in some found sound and bitter white noise and toss it in a centrifuge in the center of the earth -- yeah, it's kinda like that. While their work deserves credit for reinvigorating experimental noise/metal, and while England's industrial north has finally produced a band that makes sense to Gary, IN, the slash and burn aspect definitely gets too much play in discussions of the album. For all the noise, it seems at times like a rather quiet album, and one that shows a penchant for devising new if not slightly ingenuous formal structures. Which is all the more reason to give it a chance. The album also includes help, work, and tracks from Byzar, HrvÄtski, Otomo Yoshihide, Semiconductor, Celluloid Mata, and Veilgud Brothers.

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