Tiprod

'RANGE MAPS' on Neus 318

CHEFKIRK accelerate the acidHUMANIX infectious disease archive of the biocapturism nerve cells to the modem heart of the hybrid corpse mechanism that turned on technojunkies' ill-treatment nightmare-script of a clone boy virus. CHEFKIRK's terror fear cytoplasm gene-dub of the drug fetus of the trash sense to the paradise apparatus of the human body pill cruel emulator corpse feti streaming of the soul/gram made of retro-ADAM mass of flesh-module. Range Maps send back out the abnormal living body of CHEFKIRK's digital vamp cold-blooded disease animals abolition world-codemaniacs that was controlled to the brain universe of the hyperreal HIV scanners murder game of the dogs of tera era respiration-byte.
GIAG, Kenji Siratori

CHEFKIRK - RANGE MAPS (CDR by Neus 318)
A new one from our favourite vegetarian noisemaker (along with Merzbow, of course), and I see it quite appropriate that it's out on Neus-318 since Chefkirk's diginoise is not far from Daruin's, now that I think of it. "Range Maps" is "dedicated to birds of Eastern and Central America" and has the usual slab of great titles like "Great Cormorant", "Very Rare Fall and Casual Spring" and "Meleagris Gallopavo". Music-wise, it's possibly one of Chefkirk's best - very noisy, but with a detailed and varied sound (in this sense, Chefkirk is really getting better as a noisemaker... proving that you can't make good noise out of the blue), but also tiny bits of melodic loops and yep, even some filtered bird sound which add that touch of organic craziness that I missed in his latest releases. Thumbs up for this one.
Eugenio Maggi, Chain D.L.K.

CHEFKIRK - RANGE MAPS (CDR by Neus 318)
The latest release by Chefkirk, and I must admit, I really lost count, is dedicated to bird of Eastern and Central America. Where exactly they fly into this release, I am not sure, since Chefkirk, nom de plume of Roger H Smith, continues his noise battle with the usual suspects: rhythm and noise, mostly in that order, but there are moments here to be detected in which things turn towards other directions, a more subdued sound, which I must admit is, in my view, the way to go. After so many releases of harsh noise, it's really time to move onwards, and explore other directions. Unfortunately these new directions are quite sparse here, which is a pity. This release fits his more recent ones that were all quite alright, but sad to state that it is also more of the same thing.
Frans de Waard, Vital Weekly


Overall Rating: C
Composition: C-
Sounds: C+
Production Quality: C
Concept: C+
Packaging: F
Is it too much to ask for release artwork that isn’t pixilated? If you can’t take the photograph yourself either download a high-quality image or scan it from a book in the library. I don’t understand why people can’t put the minimum amount of effort into assembling a release that they expect people to actually buy (perhaps they only expect trades, but my point still stands). All ranting aside (Blood Ties has been up too short of a time for me to start getting bitter already, oh hell I was bitter before I made the site) Chefkirk delivers to us around an hour of experimental harsh noise here that takes the listener on a journey that is “Dedicated to birds of eastern and central America!” I don’t know why that sentence has an exclamation mark as that doesn’t really excite me much, but it’s printed like that in the release. This material meanders. That’s the most prominent aspect of this release and if you are into long recordings that morph and often go off on tangents then you will definitely enjoy this. Chefkirk keeps me listening to find out where the hell these tracks are going to go next. I am generally not a fan of this style because I tend to lose the significance of the sounds, it seems like they just become random after a while. Sometimes I am surprised other times I am bored, but there aren’t really any moments where I am outright impressed. Chefkirk does present some nice harsh textures here and often times finds himself in a more “psychedelic” realm that I feel fits nicely with the theme. Other times I find that he throws in more playful moments featuring what sound like acoustic instruments playing simple melodies pumped through a ton of reverbs, delays and feedback loops/distortions like in “Small Numbers.” The more playful and “wanky” moments are found on tracks like “Lesser Scaup,” a 30 second track with only electronic bleeping. There are times where the release “flows” nicely but the overall feeling (from the packaging on down) feels as if it was all hastily thrown together. My main gripe with the production is that there isn’t enough stereo panning. It almost feels as if the entire release is recorded in mono or something. Even if the main layered just panned back and forth at some of the more sparse moments that would do it for me, but it sounds like this was perhaps recorded live and then not edited at all? I feel like you could take this entire release as a whole, split it up half way through, and throw the first track half into the left channel, and the second into the right and it would be a better release. I also don’t really see the relationship between all of the harsh noise sounds and the concept of birds in Eastern and Central America. Birds don’t conjure harsh sounds for me. As I mentioned before the more “psychedelic” influences here seem to fit the theme more appropriately and I would’ve liked to see ‘ol Chefkirk expand on that a bit. So the sound and concept relationship is pretty lost on me. When it comes down to it this is the harshest I have heard from Chefkirk. I’ve heard loads of records worse then this and a good amount better but this isn’t done badly, just seems to lack focus and intent. I’m glad I was able to hear and I would recommend it for either ornithologists or fans of lighter psychedelic experimental harsh noise. xdementia, Blood Ties WebZine


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