The final installment of my posts of the three related album issued by this Downtown NY avant operative and sometime Elliott Sharp associate on Dossier Records, Marcos & Harry continues the experimental processes of its predecessors in spectacular form, with tendrils of effected guitar chatter swarming around cockeyed electronic progressions over two sidelong slabs.
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The second installment of this Downtown NY guitarist/electronic musician/Elliott Sharp associate's trifecta of related releases on Dossier, though this one and the final installment that'll follow with my next posts are absent both Sharp and the coterie of improvisors associated with him that were present on the first part, Like Chignik. No idea what the backstory is on his fellow travellers here but the inspired racket that's being kicked up needs no preconditions. Expect scabrous guitar patterns to chatter and churn in asymmetrical strange loops inside a spin cycle of sampler-deployed electronic malarky and miasmic swarms of glutinous sonic mucilage.
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Bloody amazing and completely forgotten, this Downtown NY guitarist/electronic artist issued a string of three related gems on the German Dossier imprint (the next two forthcoming shortly) during a compressed block of time in the late 80's, popped up on a few Elliott Sharp discs in the 90's and then seemed to disappear completely. This first part of the series (the follow up to Fulton's debut opposite Sharp on the album Hara) featured contributions from the orbit of improvisors and out-rockers associated with Sharp's Carbon ensemble and Zoar imprint, including Sharp himself alongside drummer Robert Previte, keyboardist Wayne Horvitz and bassist David Hofstra, all providing the grist for Fulton's Fairlight mill, the component parts being elastically warped and hibachi chopped into expressive mosaics somewhere between the corrosive clangorousness of Carbon and the whimsically discombobulated warpage of The History Of Unheard Music and The Freshly Wrapped Candies.
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Following yesterday's post of their jawdropping second release, here's THOUM's also quite excellent debut 12" EP. The lopsided fairlight fucked grooves that underpin these quizzical arrangements offer hints of the wonky ends their sensibility would ultimately be taken to with "Drop It", but here on their debut, the ingenious warpings of more overtly Downtown NY signifiers align this most closely with the work of fellow New York experimental composer David Fulton.
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