The cd 'EFFECTIVESENTENCES' is out on Deserted Factory.

CHEFKIRK - EFFECTIVE SENTENCES (CDR by Deserted Factory) 6/10 - Like his past work, this disc offers up a slew of tracks running all over the electronic noise spectrum. From more chaotic and frantic arrangements to shuffled movements and thicker rumbles, the compositions are often fairly fast paced and full of motion, bouncing back and forth from one to another without much of a pause to catch your breath. That may make it seem as though the work is rather aggressive, but that's not really the case. As I've said in the past, the interesting thing about Chefkirk's work is that it's really not categorizable within any subgenre of noise, it's just literal experimental electronic noise. It's not harsh, it's not dark ambient, etc. But it also doesn't come off as totally random nonsense, which many artists whose work is loosely similar to this in texture and delivery does. There are a lot of different sounds represented however, which may be what makes the real difference. "Verb, Mood and Voice" opens with only 26 seconds of quickly shifting electronic sounds, followed by "Indirect to Direct" which has some of the louder and more abrasive moments - certainly one of the brightest and most up front herein. "Ineffective Subordination" has some thick manipulated beats fighting their way forth, and possesses a more consistent feel for its duration; while the title track tops 11 minutes, opening with faint rumbles and distant glitchy textures for a much quieter atmosphere, hovering about without significant variation as more of a crunchy/ominous distortion fades into play towards the close of the selection. "Excessive Subordination" is but a mere 14 seconds of piercing feedback - far louder and more biting than the rest of the work, leading into another longer and more laidback piece in "Repeated Words" - keepings things quieter and using less variation in overall flow. "Misplaced Phrase" is similar in its light use of layering and sparse arrangements, though the tones are a little more active and get louder and more expressive with changes and jumps in output level. Chefkirk releases generally tend to look nice, and despite small discrepancies this is no different, with the CD-R housed in a jewel case using bold colors and imagery with lots of stark white space for added effect. The sound is nice on this one as well, crisp without being thin, and possessing a little more density than some of what I've heard from the project in the past. I'm not blown away by the compositions themselves, though some are very nice, and I don't dislike any of it. So. this is a consistent and curious project. Oh, and the release is numbered of 100 copies, so I imagine that interested parties shouldn't wait but so long to pick one up. Running time - 39:36, Tracks: 11 [Notable tracks: Verb, Mood and Voice, Effective Sentences, Repeated Words] (Aversionline.com)

One of those more busy bees in the world of CDRs is Chefkirk, aka Roger Smith. Although I must admit I had trouble with his first few releases, the more recent ones are getting better and better. On this new, with eleven tracks clocking in at just under forty minutes, Chefkirk keeps his stuff together. The rhythmic and noisy elements generated by computer means are still the main power of his music, but he managed to add a certain depth and more dynamics into his music. Also there is some more variation throughout this music, that ranges from the noisy 'Verb, Mood And Voice' to more introspective moments in the title piece and 'Choppy Sentences' or technoid rhythms in "Ineffective Subordination'. Variation throughout I'd say and this makes this into quite an enjoyable effort.
(FdW, Vital Weekly)

Chefkirk is an extremely prolific motherfucker. This isn't really a bad thing, but it does make reviews a bit of a pain when the guy has a new cd out every month, in that after awhile there is only so much you can say about an artist within a short period of time, especially when said artist generally keeps the same sound approach with most of the recordings. After releasing so much material in a short period of time one can't help but get a tad bit derivative I guess.

Don't get me wrong. I really like listening to chefkirk, but I would be lying to you if I said that each release was a completely different bag of tricks. Herein you will find the typical chefkirk calling cards; crazy sinewaves and building walls of ominous thunder, the jagged assemblage of skree and rhythmic carnage, the contrasting super energetic bleeps and spastic cuts and skipps and wacky chipmunk samples. Sometimes there are some new unexpected spices thrown into the soup (in this case the special ingredient would be jagged cut up gabber beats), but for the most part if you've heard two or three chefkirk discs you have a pretty good idea of what the others will sound like. This isn't necessarily a bad thing. It is important a lot of times to build a general sound aesthetic, and Roger has explored a lot of really different and exciting territory within the noise and surrounding genres. But while I do enjoy this disc, i just can't shake the feeling that its just another chefkirk disc; Good, but not much you haven't heard from the project before.
(Royce Icon, Industrial)

With titles such as "Dangling Modifier" and "Misplaced Phrase" you might expect Chefkirk to be working language structures into his ever prolific compositions. No such luck, after the elegant playful introduction of "Verb, Mood And Voice" track 2 lets us in on the truth - excessive use of distortion and effects does not an album make.

Apart from occasional moments of clarity this album fails to be thought provoking, intelligently constructed or reward repeated listens. These great moments though happen where the fizz of distortion is toned down to create a delicate patina of surface noise. But usually these tracks are too loop based, delay based, too unvarying in dynamic and generally cluttered by layers and refusing to use silence except at the ends of tracks. Track 5 brings us a few seconds of relief, where we can see what you happened if you removed the distortion, there would be nothing left, but just enough nothing to make it interesting. The title track of the album "Effective Sentences" is the most effective - drawing ripples and gestures of distortion over a sort of electro cicada atmosphere. Sometimes the continued distortion can act as a veil, a cloud, to disguise otherwise mundane radio, beats, synths. It succeeds, but this has little for people who are unfamiliar with Chefkirk's previous work.
(Mark McLaren, GIAG.LV)

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