The similarities between Damian Catera and K.K. Null are obvious. Both use guitar and self-built effects to explore a musical realm comprised of dark ambient, harsh noise, and electro-acoustics. Their methods and signature sound differ, but not enough so that their individual contributions to Freakout Modulation can be easily isolated -- especially when compared to Null's other collaboration projects from the same period, such as Transgenic Nomad with Jon Rose and Terminal Hz with David Brown. The former was an improv affair; the second contains very quiet sounds and sparse pieces. Freakout Modulation, on the other hand, is more generous: the pieces are rich in noisy drones, mad digital decomposition, and antiquated drum machine beats. The tracks are all titled "FOM," in typical Null fashion, and fall within the four- to 16-minute range. The shortest ones stand out as ideas remain denser, but the two longer cuts have their moments, the concluding 12-minute piece presenting some very strange sounds while breaking away from the drone format to explore something more electronic. The booklet remains silent as to whether these pieces were improvised or constructed in the studio, but it sounds like the latter. It seems a lot of care was put into their architecture and the choice of textures. It works well, although both artists have better, more visceral titles in their discographies.
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AllMusic Review by François Couture