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- The White Biscuit
MP3 EP 2013 | Silber 130
5 tracks, 5 minutes
: Press Release
: Digital Booklet
hobie part 7
Rllrbll manages to twist into the eardrums with the loose ‘The White Biscuit’. Over the course of about five minutes Rllrbll manages to show off a rather unique approach to development and melody. Through constant repetition it manages to create an unusual sonic universe. Electronics play an enormously large part of the sound. At the same time though these experiments are met by equally playful beat work. Phasing in and out is a notable feature of the album. Allowing the speeding up and slowing down of samples helps create a feeling of complete disorientation.
‘Speechless’ takes up roughly half of all the running time. With a single melody it focuses more on the peripheral elements of the pieces. Rhythms are set up to ultimately fail. The woozy nature of the track makes it appear on the verge of collapse many times. Little gestures try to align it up properly but they too are able to completely win. ‘Dinker’ is wormy. Here the sound manages to literally crawl into the ears. A melody materializes but barely. More attention is paid to the utter weirdness of the track. How Rllrbll manages to let the sound take over any sort of progression makes it particularly creepy.
By the end things fall apart. ‘Reno Nevada’ replicates the sound of a machine’s industrial production. The drumming on here is agile. No melody materializes. Towards the very end there is complete and utter chaos. Overall this is a strange transmission from the intersection and rejection of linear sound.
~ Beach Sloth
...a weird bit of twinkling jazz meets trip hop...
~ William Helms, The Joy of Violent Movement
US trio RLLBRLL has been around since 1994 according to their Facebook page, consisting of Mae Starr, Gilles and Monte Trent Allen. “The White Biscuit” is an EP of theirs from 2013, released on US label Silber Records as a part of an experimental series of EPs made under the condition 5 songs in 5 minutes.
Rllbrll’s approach to this format appears to have been to try to get in as many short songs as possible, and then to create some random short additions to cover the amount of tracks needed. Opening piece Speechless is the most sophisticated and elongated of this handful of constructions, revolving around sophisticated drum patterns and light toned surging synth textures supplemented by a wandering piano motif and twisted, distorted voice effects. With a nice little twist that effectively concludes this composition in an elegant manner. Dinker is a creation that clocks in at the 90 second mark, some sort of avant-garde rhythms and noise excursion that is enticing in a strangely odd manner. Reno Nevada is a 50 seconds long rhythms, percussion and effects constellation, and a compelling one at that. Hobie Part 7 consists of 10 seconds or so of odd and strange but pleasant sound effects, while concluding piece The Wait is a brief electronic nose that covers the remaining second or thereabouts.
The end result are a fine set of compelling constructions, the longest of them the better one by far. Worth checking out by those fascinated with experimental artists that use rhythms and electronics as their main tools in exploring music with an avant-garde heart and soul but compelling and enticing in expression.
~ Olav Martin Bjørnsen, House of Prog