Sooner Or Later begins as a very rigorous bit of political art. Composed by this early proponent of plunderphonic and sampladelic praxis (now better known for his journalism that appears on sources like The Huffington Post), The A side begins by grabbing hold of a brief sample of a Salvadoran child burying his father after being murdered by The National Guard, burrowing inside of and plastically reconfiguring this extremely spare and very disturbing sound source over the A side in myriad ways. If this were the sum total of what was transpiring here, it might not have triggered my desire to share this promptly, but the B side is trafficing in something else entirely. Here, Ostertag teases out a glorious haloing harmonic cloud of drone guitar bliss sourced from 20 seconds of a Fred Frith improv that sounds like nothing so much as the dreamily arcadian and acid glazed early era of Matthew Bower's work under the Hototogisu moniker, with the child sample re-appearing as a ghost on the periphery at around the two thirds mark.
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