plays analogue synthesiser, FM radio, tape, speaker drivers and objects.
Side 1: 07’50” / 03’56” / 04’29”
Side 2: 12’17” / 04’34”
Recorded in London 2013.
Mastered by Giuseppe Ielasi.
Edition of 66 (hand numbered).
C34 chrome cassette comes wrapped in a screenprinted (silver on black) foldable cover;
[...] Think of deep rumble going into small speakers and the sound being picked up somewhere else; or the same speaker covered with tin foil or cloth to alter the sound. I think this is the sort of methods applied here, but Rice knows how to create music with these methods - as we know a method is nice, but not a music piece per se. To do that you have to walk the extra mile - at least. In the minimalist electronic pieces, Rice does this quite well. A few tones mingling together, some consecutive beats, irregular crackling and such like and in each of these five pieces there is a beautiful tension underneath, an acoustic drone quality (on the B-side), some mild distortion. Less collage/cut and paste than in their trio work; different, but complimentary to the group effort. Refined beauty! Fine experimentalism! Great listening music. [...]
Frans de Waard in Vital Weekly 969
[...] Louie Rice, perhaps better known as one-third of shamanic wranglers VA AA LR, steps out on his own this time round for a beautifully presented tape on the Porta label. Admirers of VA AA LR’s more micro-level investigations will find much to love here, and while this outing does bear some similarities to the trio’s rustles and whirrs, Puxe sees Rice bringing a badass low-end rumble to proceedings. [...]
Paul Margree in We Need No Swords
[...] Good old greasy, juicy, dark noise abounds on this cassette (heard here via download). Rice (of VA AA LR renown) sets several murky, quasi-rhythmic forces in motion, all slow, like a horde of awakening giant beetles, clicking, thrumming and grinding. A fine, slightly scary mix of sounds as it oozes along Side A for a good while, seeping into corners. Halfway through, it shifts to a lighter pulse littered with staticky pops that runs to the side's conclusion; remote, subtly disturbing and impressive. Side B begins quietly, gradually working its way up to a churning throb, sizzling on the edges with a lugubrious, dead-slow melodic line buried within. With five minutes to do, this disappears down a drain, replaced by a relatively jaunty sequence of static bursts which in turn segment into various hums and scattered mini-explosions, still keeping a (diverse) rhythmic feel, the sounds becoming progressively more active and threatening until all energy is lost and matters simply peter out. A very enjoyable adventure, creatively imagined and executed. [...]
Brian Olewnick in Just Outside