![]() ![]() ![]() Such sonic ambiguities challenge the most elemental of all dichotomies: objective versus subjective.ĭilloway himself claims the sounds in question are indeed real. They sound real, kind of, but it's impossible to say one way or the other without feeling as if your senses are betraying you. At the same time, a roiling litany of groans and growls can be detected that flummox the ears. Around the nine-minute mark, the eerie industrial dub slips into an abyss of distortion, one which flirts with electronic voice phenomenon (a staple of parapsychology). Yet another track with a title intimating Dilloway's trickster ethos, the side-long "Look Over Your Shoulder" goes even further in its sonic subterfuge. Yet he does so without surrendering the underlying properties unique to each. Though their sound sources are wide-ranging (field recordings, crumbs of crackling static, scrap-metal atmospherics, warbling tape hiss), Dilloway manages to make them pieces of a whole. The most aggressive example of which is the 11-minute screamer "Eight Cut Scars (For Robert Turman)," a spazzoid melody that multiplies unevenly before spilling into a vat of fuzz.įar less assaulting, "Body Chaos" contains a sequence of loops that topples a different dichotomy: the one versus the many. ![]() By constructing repetition-based music riddled with distinctive imperfections, one of the many results Dilloway achieves is a collapsing of the dichotomy between predictability and randomness. His weapon of choice is the tape loop, albeit loopage that is mangled, wire-fried and intensely lo-fi. Over the course of its four sprawling sides, Dilloway relentlessly upends and disrupts listener perception, in particular the either/or logic governing it. It should come as no surprise then that his most ambitious release to date, a three-years-in-the-making concept album, arrives with the all too fitting title Modern Jester. It's a fascination reaching back to the noise pioneer's formative years in the Ann Arbor-Detroit underground of the mid-'90s, a scene whose quirkiness owed a great deal to the Discordian mischief of Sun City Girls, The Residents and Caroliner. His myriad projects, from The Beast People to (pre-Spykes) Wolf Eyes, have always reflected his fascination with the trickster, that folkloric rogue and saboteur of law and order. Yet none of them have ever found much resonance with Aaron Dilloway. Urban guerilla, sociopath, sexual deviant, blasphemer: these are the subversive personas that have dominated noise music since its outgrowth from industrial culture in the '80s. ![]()
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