Body/Dilloway/Head

キム・ゴードンとビル・ネースによるプロジェクトBODY/HEADがアーロン・ディロウェイと合体!!

ごぞんじKIM GORDONとUSインプロ・ギタリストBILL NACEからなるプロジェクトBODY/HEADが、元WOLF EYESのメンバーであり、USノイズ・シーンの一翼を担ってきたAARON DILLOWAYと合体! ゴードン & ネースによる揺らめくインプロヴィーゼーション・ギターを軸に、ディロウェイのエレクトロニクスが有機的に混ざり合う自由度の高い内容!USノイズ / エクスペリメンタル・シーンの重要人物による注目盤の登場です!

Part of Three Lobed Recordings 20th Anniversary series and the projects debut release, Body/Dilloway/Head finds three experts in their fields making music that complements their legacies and strikes out on its own. Even the albums billing reinforces just how integral the addition of Aaron Dilloways electronic manipulations is to this version of Kim Gordon and Bill Naces guitar improvisations: Body/Dilloway/Head is a true dialogue between the three of them that revitalizes each of their contributions. Though its somewhat surprising that Gordon and Dilloway havent worked together before, the album lives up to fans expectations of what this collaboration might bring even as it surprises. Body/Dilloway/Head isnt as assaultive as some of their previous work; instead, it challenges listeners softly with its engulfing, hallucinatory pieces. As experimental as Body/Heads other albums were, they still hinged on some kind of linear movement. With the addition of Dilloway, they play with the ways the act of recording captures the passage of time and also alters it. On the albums three pieces, the trio stretches and cuts moments in brilliantly disorienting fashion, most daringly on the opening track Body/Erase. A humming amp builds anticipation and seemingly grounds the piece in reality, an illusion soon shattered by the appearance of blurs that may have once been instruments or vocals and gurgling, warping manipulations that imply the obliteration of time itself. When more familiar layers of feedback and guitar finally appear deep into the piece, they feel almost as alien as what came before. The rest of Body/Dilloway/Head follows suit, gradually introducing a few straightforward elements recontextualized in compelling ways. Theres an almost Fahey-like lilt to the guitar figure that makes up the backbone of Goin Down, though the squalling loop and omnipresent drone that accompany it take it to far stranger places. Secret Cuts lives up to its name with its fearless use of negative space and slippery edits to Gordons vocals (which have rarely sounded so eerie), a spiky guitar motif, and wild sound manipulations that approach the intensity of DJ scratching. Gordon and Nace never followed an obvious path with Body/Heads prior releases, but bringing in Dilloway presents entirely new possibilities that they use with fascinating, often haunting results on Body/Dilloway/Head. ~ Heather Phares