Peter Blamey works with a simple set-up: a single oscillator and two mixers all wired together. One thinks of Toshimaru Nakamura's no-input mixing board, but the Japanese and the Australian follow noticeably different paths. Nakamura likes to contemplate microtonal changes in the sustained high-pitched feedbacks he gets out of the machinery. Blamey's music is a lot more playful. It spits, chugs, twits and splutter. It can even become techno-glitch without a laptop getting involved. In "Perforated Platelets" the artist is struggling to get a groove together and keep it going; his attempt at ordering chaos becomes an integral part of the music itself. In "Foil Soil" he periodically changes the pitch of the oscillator, mimicking the most basic of two-chord (or two-note) modulations found in some techno music. It is this tongue-in-cheek attitude that makes Salted Felt palatable as it creates a space for the listener to get comfortable between more abstract pieces. Of the latter category, "Lunate" stands out even though it gets closer to Nakamura's territory. The short duration of the tracks -- betwen a minute and a half and seven minutes -- and of the album itself, clocking in under 40 minutes, also contribute to keep the experience focused and to the point. Of course, you need a good predisposition to sound experiments and abstraction to stand a chance to relate to Blamey's work, but if you do you'll find that he has found his own voice.
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AllMusic Review by François Couture