Nana April Jun (a.k.a. Christopher Lamgren) is another one of those single artists (in this case, also a visual artist and art mag editor) who makes dense, challenging music that most bands can’t approximate. Eschewing traditional instruments for digital soundscapes, The Ontology of Noise spirals across five extended tracks, streaming through shades of light and dark, sometimes approaching full-on noise, sometimes low and pulsing ambient.
“Space-Time Continuum” builds slowly, its burst of noise inevitable but welcome. “Semantic Shift” is much colder, its pulse never leaving, its drone evoking a vacuum that grows more and more stifling. The finale, “Sun Wind Darkness Eye,” is meant as a summation, though “Space-Time” seems to deliver that. Still, it is a powerful track in which static waves orchestrate the fluctuations in sound, ending in a deliberate and constant pulse. It has traces of black metal, krautrock and Acid Mothers, but it sounds new.
The Ontology of Noise mixes and matches genres harsh and gentle to make its own statement. Nana April Jun is, like many of his Scandinavian musical contemporaries, aware of the power of noise, silence and drone.
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