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Quiet can be the loud, and loud can be the
quiet - if someone can proof that point then its Thomas Dimuzio and Dan
Burke Vital Weekly
...an audio verité document of this singular
and extremely frightening point in history. Tiny Mix Tapes
...a collection of sonic textures that further listening only expand upon. Brainwashed
...its disorienting effects tend to sneak up
on the listener, and pack a punch all its own. Fake Jazz
Burke and Dimuzio have created and unfortunate,
unpleasant, and necessary soundtrack to the distressing times.
Foxy Digitalis
This is sound that happens slowly, deliberately,
with an emphasis on minimalism and droning waves of meditative unease...
The One True Dead Angel
Vital Weekly
The releases by No Fun Productions have certainly
been fun, but mainly for the reviewer of all things heavy heavy noise
concerned. Today I could inform him of the next four releases that are
out, but only three will make it his way. I am quite surprised to see
a release by Dan Burke and Thomas Dimuzio on this label, simply for the
fact that I know these boys can make a hell of a racket, but the main
idea is never about the just the noise itself. A good piece of noise isn't
just loud, it's dynamic - it can be loud for sure, but its the interaction
between loudness and silence that separates good noise - well at least
for me. Thomas Dimuzio, who has some pretty strong solo records, as well
as collaborations with Fred Frith, Chris Cutler, Arcane Device and Matmos
teams up with my personal hero of American's underground 'noise' music
Dan Burke, who is mostly known as the main man of Illusion Of Safety,
but who sometimes works under his own name - such as previously with Dimuzio
and with Kevin Drumm. In 2004 the two played three nights in a row at
the Luggage Store Gallery in San Francisco, which are now edited into
fifteen startling pieces of 'noise' music. Take 'Operative': a near silent
piece of a few samples - I bet none of the kids would classify that as
noise, but the old man does (no reason why he should know better of course).
These two, also older men, play a variety of devices such as laptop, objects,
live sampling, feedback and 'sound sources' and create with that, of course
in an edit, almost an hour worth of music that is highly vivid, dynamic,
bouncing from 'loud' to 'quiet' with sheer elegance. They know what they
are doing, which is sometimes questionable from their younger peers. Intense,
listenable, cinematic. Quiet can be the loud, and loud can be the quiet
- if someone can proof that point then its Thomas Dimuzio and Dan Burke
and 'Upcoming Events' is exhibit a. Boys and girls - take notice. Frans
de Waard
Tiny Mix Tapes
The image on the cover of Dan Burke and Thomas Dimuzio’s
Upcoming Events depicts a group of police in riot gear, standing menacingly
in front of Manhattan’s Madison Square Garden, the digital marquee behind
them bearing the album’s title. The photo, I would guess, was taken during
the 2004 Republican National Convention, when swarms of cops patrolled
the streets of NYC. Although not on par with the demonstrations that took
place in the ’60s, the protests that met the Republicans in ’04 were still
massive, and before the convention’s end, hundreds of protesters would
be scooped up in the streets in plastic fencing and siphoned onto a bus.
The kidnapped protesters were then taken to the asbestos-filled Port Authority
bus terminal, where some would spend up to 57 hours in this American gulag,
which came to be known as "Guantanamo on the Hudson." Of course, in post-9/11
America, we are told that the world, and our country especially, has changed.
Many accept these new authoritarian measures in the face of fear, convinced
that this is all meant to keep us safe. Meanwhile, conspiracy theorists
attempt to piece together bits of the puzzle, drawing parallels between
the burgeoning American police state and its possibly darker, more frightening
agenda. Stories of government-sanctioned torture, tazer-related deaths,
and strange asphyxiations in airport holding facilities are daily occurrences.
So much of what has changed in our country in the past seven years was
deemed necessary in the face of 9/11 and global terrorism fears. Now,
in 2008, faced with an unparalleled financial disaster, our country stands
on the brink of economic collapse. For Dan Burke, this is all standard
fare. His noise project Illusion of Safety has been dealing with conspiratorial
issues for nearly 25 years. A look back at IOS’s discography shows a real
penchant for the political and a keen awareness of hidden agendas untouched
in mainstream media. His Illusion of Safety moniker itself explores a
particular political trope — i.e., the prison without bars, the idea that
we are instilled from birth with the belief that we are free, yet succumb
so easily to the slavery of adapting to societal norms. On Upcoming Events,
Burke is joined by the lesser-known Thomas Dimuzio, and despite his relative
anonymity, his resumé is nonetheless impressive. As a sound engineer,
he has worked with the likes of Isis and Psychic TV, and when he’s not
recording and producing, Dimuzio is an expert electronics dude. From the
crackling electronics and menacing sine waves that inhabit Upcoming Events,
it’s clear that the two are tuned in to how eerily terrifying the political
climate is. Through the machinations of their detached robotic sounds,
Dimuzio and Burke are furthering the Illusion of Safety agenda by tapping
into this climate of fear that pervades modern society. Opener "Deregulation"
(which alludes to the overall push for the government to undo restrictions
on businesses in order to create more capital flow, and is a large part
of the economic problem we face today) crescendos softly into an incongruent
series of blips and tense metallic scrapings, slowly snowballing into
something entirely massive, a hulking corporate behemoth that self-capitulates
like grey goo, not satisfied until it has taken over everything. (Mussolini,
who coined the term fascism, often said it might be better called corporatism.)
On "Closed Circuit," the duo dives into the private television feed we
are increasingly being surveilled upon in this burgeoning panopticon,
and its anxious swirls of sound funneled into a spiraling vortex are the
perfect soundtrack for awaiting the all-seeing eye to finally descend
upon the capstone. "Leave Here Right Now" takes a field recording of a
police confrontation, where a reporter is arrested for refusing to leave
a public area, and mashes it together with dark ambient creepiness, its
disembodied voice of authority rising from a steaming pile of industrial
wreckage while revealing an essential loss of liberty and sending out
a clear message: your freedoms are being eroded. Upcoming Events: the
title alone, evokes such an array of possibilities that one is overcome
by dread and uncertainty; what are these upcoming events that Burke and
Dimuzio are referring to? Martial law? More terror? Tyranny? Totalitarianism?
More loss of liberty? Further degradation of the Constitution? War with
Iran? Russia? Pakistan? Economic crash? While nearly all of these things
would’ve once been considered a paranoid’s wet dream, right now, they
all seem entirely plausible. With the lines between paranoia and reality
becoming intermingled, Upcoming Events plays not like a delusional fantasy,
but more like an audio verité document of this singular and extremely
frightening point in history. Mangoon
Brainwashed
It’s refreshing to hear an album of sonic abstraction
that falls into neither of the following categories: minimalist drone,
harsh noise, or crossover into other electronic realms. Not that there
is anything wrong with those at all, I enjoy many works that fall into
those aforementioned categories. But works like this collaboration between
the Illusion of Safety member and long time sound artist and master for
hire Dimuzio are fascinating in that they are focused only on the nuanced
textures of sound. No Fun Productions Perhaps most interesting is the
fact that the 15 tracks that compile this album are based upon live collaborations
over a period of only three days. The pieces were not overdubbed or otherwise
processed, but only mixed after the performances to give a more cohesive
flow. As in any good recording of this nature, the specific instrumentation
and tools of performance remain a mystery (the liner notes credit laptops,
sampling, and “sound sources”), but their output is captivating. The
lengthy opener “Deregulation” begins quietly: electronic loops deep in
the mix as fragments of voice and computer data tones swell up, later
matched by lush, almost classically dark ambient synths and eventual digital
data sputtering, like a hard drive in its death throes. Some of the tracks
also have some obvious intended contrasts: the thick, organ like tones
that comprise “In God We Trust” have a distinct holy quality, especially
next to the machinery hum and hellish detuned orchestra of “Devil’s Torrent,”
which immediately follows. Similarly, the quiet, pitch bent sound of
“Operative” is followed up by the heavier “Aggregate,” with a thick distorted
synth element that places it somewhere near the realms of current power
electronics/death industrial. Other pieces exist solely on their own,
without any easy point of reference to draw: “Infecticidal” is based
upon a loop of what sounds like creaking springs, but is matched with
what resembles ethnic percussion, thick stabs of noise, and what sounds
like birds chirping. It's an odd and somewhat disorienting combination
of sounds that these two artists manage to sculpt into a fascinating track
that sounds like very little else. The album closes on an especially
odd note with the penultimate “Mediastorm,” consisting of odd chattering
noises and dense reverb blasts which resemble the recordings of hurricane
forced winds more than anything else. The actual last bit is almost pure
silence mixed with the occasional odd sound (it may be the artists dismantling
their gear after the show). Although from live recordings, this collaboration
has a distinct cohesive feel that, even with all its abstraction, feels
like a fully realized album. While there are the occasional traces of
other genres that show up, as a whole it stands on its own as a collection
of sonic textures that further listening only expand upon. Creaig
Dunton
Fake Jazz
The cover of this disc is one of the best I've seen all year; a cadre of riot police, decked out and ready for action underneath an electronic sign, presumably for a public gathering space of some sort, that reads simply "Upcoming Events." Given this imagery and the typical tenor of No Fun's caustic catalog, one might expect something a bit more destructive, but Upcoming Events's fifty-seven minutes are far too wide-ranging to be pinned down within a single means of attack or character of sound. Recorded at a number of live dates in 2004, Upcoming Events pairs Illusion of Safety founder and longtime noisemaker Dan Burke with San Francisco's Thomas Dimuzio, only slightly less of a veteran, having released cassette in 1988. The disc is compiled from performances over a three-day period, its fifteen tracks covering a great deal of ground, from the icy atmospherics of "In God We Trust" to the sparse glitch of "Transmission." Burke and Dimuzio are inclined, it seems, towards the ambient, and while Upcoming Events has its share of sharp edges and grit, there's a hum, drone, or tone at the heart of nearly every track. Cloudy static often drifts in the background, setting the tone for the incredibly textural manipulations that tend to come to the fore. The contributions of the duo mesh with the ease usually produced by years of collaboration, and while distinct voices are obvious, that they're being improvised simultaneously by twoseparate musicians is far less so. So while things aren't as "eventful" as those chipper chaps on the cover might suggest, Upcoming Events feeds chaos in ways more subversive than an all-out riot of sound. Identifiable vocal snippets in "Leave Here Right Now" are some of the few points of context in an otherwise alien confluence of sound sources, and its this unfamiliar feel that makes for the disc's most compelling arc. Burke and Dimuzio's digital soundsmithing doesn't often hit the listener like a club to the head, but its disorienting effects tend to sneak up on the listener, and pack a punch all its own.
Foxy Digitalis
Given the subtext of creeping fascism and the slow
stomp of totalitarian boots, it is no surprise that the soundtrack for
such upheaval, "Upcoming Events," is an angry mix of Industrial
pounding, locomotive propulsion, and general sci-fi soundtrack eeriness.
There is even a fairly long and maddening tape of an encounter with a
police officer who only wants to hear obedience, not reason. In its rage
and sublte sadness over the political, noise masters Dan Burke and Thomas
Dimuzio collaborate once again to create a seamless set of fifteen tracks,
mostly cobbled from live shows, that express more ideas and variations
of tone and colors than most noise recordings. It is like they are combing
through sounds for evidence of the rage building because of recent history;
their collage of brutal tones a form of resistance. So many people, at
least among those I know, are so mad and scared and unsure that often
they can?t express what they feel as the political intrudes so deep into
their personal lives. Instrumental music, of the sort here on "Upcoming
Events" seems the proper response. To listen to tracks like "Deregulation"
"In God We Trust" and "Freedom Fries," along with
that recording of an arrest, "Leave Here Right Now" may be the
only satisfying outlet for those feelings. Burke and Dimuzio have created
and unfortunate, unpleasant, and necessary soundtrack to the distressing
times. Mike Wood
The One True Dead Angel
The fifteen tracks on this disc frequently bear a
strong resemblance to the early work of Illusion of Safety, which makes
sense when you consider that IOS founder Dan Burke is one-half of the
noisemaking duo at work here. The source material was all recorded live
over three nights in San Francisco, with Burke using a laptop, various
objects, and sound sources while Dimuzio used a sampler, feedback, processing,
and sound sources; the results were later edited and mastered by Dimuzio.
Much of the material here shares the IOS aesthetic of minimal sound and
extended periods of silence or near-silence, along with a certain texture
of electronic noise drone that is Burke's audio signature. Ambient drone
is the major force at work here, and most often the backdrop against which
they overlay ambiguous samples and cryptic textures, most of the time
in a fairly understated fashion. This is sound that happens slowly, deliberately,
with an emphasis on minimalism and droning waves of meditative unease;
it's not terribly aggressive, but it is frequently unsettling. The dark,
oceanic sound that pervades much of the disc has its roots in the early
IOS catalog, although that minimalist sound is augmented by layers of
texture and odd snippets of sound that add a bit of aural spice to the
zoned-out proceedings. It would be interesting to know who did what in
terms of creating the initial sounds (just as it's equally interesting
to note how much it really sounds like IOS, even though Dimuzio was the
one in charge of the final editing). IOS fans and those harboring nostalgia
for the first wave of isolationism should hear this. RKF
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