With R&D, STARGATE, GHOST SHELLS, and R&D2, Joe Banks (Disinformation) tuned his receivers and antennae to reveal inaudible radio frequencies, natural statics, and geomagnetic disturbances. His recordings opened ears and minds to the fascinating array of infrasonic events constantly occurring just above/below our limited range of hearing. The sprawling double-disc ANTIPHONY finds a stellar assortment of electronic musicians "interpreting" Disinformation material, frequently to superb effect.
AL-JABR effectively inherits ANTIPHONY's mantle but, with the invitation of such unlikely candidates as erstwhile pop-star Simon Fisher Turner and eminent improvisational saxophonist Evan Parker to approach the sonic concepts behinds R&D and R&D2, the project surpasses ANTIPHONY in breadth and scale. Turner seeks a pop backbone in Disinformation's raw-matter but never finds it, despite dance innuendoes and ambient twiddlings. Mechos mimics the clicking Geiger counter signatures of decaying isotopes. "Booming Bass," Jim O'Rourke's meticulous collage of electronic trickery, contains everything but bass. Lawrence Casserley and T:un[k] Systems respectively compress Disinformation's atmospheric afterimages. In the 13-minute "London's Overthrow," Parker blows a labyrinthine pattern of tangled, circular tones over the throbbing discharge of alternating electrical currents. This set is an unpredictable, brilliant exposition of the controlled universal chaos that Banks' recordings tap into and explore.