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w botfly 03:56



released May 8, 2014

Trespassing the boundaries between danceable breakbeats with sonorous basslines and near-harsh noise freestyle impro freakouts, Canadian artist Holzkopf returns to Attenuation Circuit with a very varied 56-minute album set to delight all connaisseurs of electronic glitches, pseudo-sci-fi-movie analogue synth weirdness, over the top sound effects, and anyone who feels that humour should have its place in contemporary club music.

Of the eight tracks on “Trespassing,” three are collaborations (with Botfly, Slaylor Moon, and Eamon McGrath), but all of them radiate the sheer exhilaration of playing together. Shouted and howled vocals make a bit of an appearance on the album, infusing the music with unintelligible echoes of something that could be hardcore-punk despair and anxiety, but also free jazz battlecries and undoubtedly lends the tracks an emotional directness they would not otherwise have. A completely different side of Holzkopf surfaces in track 7 with Slaylor Moon, a gripping dark ambient piece without any beats or irony whatsoever.


Bad Alchemy #75

HOLZKOPF - auf so einen Namen muß ein Kanadier erst mal kommen - lässt bei Trespassing (ACR 1022, CD-R) keinen Zweifel, dass ein 'No' für ihn kein Hindernis darstellt. Jake Hardy, so heißt er wirklich, rumpelt und zuckt, wohin es ihn zieht, notfalls mit dem Holzkopf durch die Wand. Rhythmisch läuft da manches völlig aus der Spur, aber sobald das Gezucke straighter wird, wirkt es erst recht komisch. So als könnte man einen 4/4-Takt der Dinge einfach nicht erst nehmen. Zumal wenn das Gezappel so knarrt und quietscht wie die Hals über Kopf-Verfolgungsjagd von 'Sick Of Cops'. Den Cops wird auch beim Hummelflug und Discohop von 'Smoking Leaves' eine Nase (und Anderes) gedreht, obwohl da Gabberbeatz wie blaue Bohnen die Luft durchsieben. Nach einem glissandierend umjaulten Schlagzeugsolo verlangt Track 5 nach Aufmerksamkeit mit krummtaktig schrillenden Schlenkerbeinbeats, die von einer regelmäßig rasselnden Steppnaht zusammengehalten werden, bis hin zur finalen Darmentleerung. Welcher Arsch hält danach noch das diarrhöische Gesplatter von 'Animal Cosmology' aus? Wer da keinen Sinn für kosmische Komik mitbringt, den hat es längst zerbrezelt, bevor 'w slaylor moon' eine unverhoffte Wendung bringt, nämlich ein beatloses Driften durch kosmische Gitarrennebel. Als The Fawkes spielt Hardy 'w Eamon McGrath' zuletzt noch überrauschten, schleppenden Holzbeinrock. Den gemeinsamen Nenner bildet da wohl kaum irgendwelches Holz, eher schon ein großer Kopf.



Vital Weekly 858

Holzkopf already released on Attenuation Circuit (see Vital Weekly 786) and also send us some of his own releases (Vital Weekly 832), of which I liked the latter. The first one had a lot of fast beats as this all has to do with free style breakcore, alternative dance beats, glitchy, distorted, weird, and what I think is hardly danceable anyway. But perhaps it's hard to find me dancing anywhere these days, I wondered. Much of what Holzkopf from Canada does is beat oriented but it's very rarely put together in such a way that we head and tails, compositions if you want, but a chaotic, chopped up, beat oriented sounds, which needs a lot of drugs to make your feet move (I didn't try this out on grey thursday afternoon). A moment of rest we are allowed in 'W Slaylor Moon' (indicating a track recorded with a person of that name), which has no beats but dark ambience. Now perhaps that's more of my liking indeed. I did mention such in the previous review.





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