The album art for Wrack With Ruin consists of an etching of Magicicada’s Chris White vomiting up a bunch of worms. And who says there’s no truth in advertising?
Because this is an album that, for all its varied external sound sources – which include tubas, violins, tune-up sessions, field recordings, and much more – could only have come from deep inside of White himself. It is his disturbed psyche vomited forth, cut up and rearranged. Wrack with Ruin is also, like its cover, fucking nuts. This is noise at is most disturbing, wretched, and hauntingly beautiful.
On his website, White describes Wrack with Ruin as “one long piece.” This may seem like an odd description at first, since each track is so wildly different than the last. But it makes sense; the album works as a kind of aural haunted house tour. Each track feels less like a discrete song than a new room in the Old Dark House, containing new wonders and new horrors. For example, in just three tracks, White guides us through the Tom Waits-ian dark carnival of “Pardon You” to the almost-danceable glitch nightmare of “Homeopathic Processor” to the distorted psychosis of “My Fault” (whose vocals recall Ween’s terrifying “Spinal Meningitis (Got Me Down)”). Throughout the record, there is a constant fascination with error – glitches, pops, digitized squalls, the accidental art of broken video games and blown-out speakers. The effect is like being swallowed up by a psychotic Castlevania NES cartridge.
What is most striking about Wrack with Ruin is the way it straddles the line between composition and chaos. There is no doubt that White has painstakingly manipulated and arranged every second of this album, and yet the music is also continuously on the cusp of total disorder. Many of the juxtapositions here feel like they could only have happened by chance. For example, in “Jigsaw Forms,” White combines some eerily distorted vocal samples with a clattering drum track. It simultaneously makes perfect sense and doesn’t make sense at all. It is that balance of order and chaos that makes Magicicada’s music so vibrantly alive even its darkest, most disturbing moments. White has managed to plumb the depths of his psyche and come out the other side. Certainly, that is the mark of a transcendent artist.
7:34 pm • 22 July 2014 • 2 notes
Getting in tune for the Goat Farm show on August 8th
7:09 pm • 17 July 2014
Pierre Henry - Levitation
Pierre Henry - Mise en Musique du Corticalart de Roger Lafosse (1971) Biography by Jason Ankeny The celebrated French composer Pierre Henry was among the piv…
Thanks Pierre. You usually make me happy.
10:19 pm • 15 July 2014
On the Magicicada : A Symbol of Rebirth
'Linnaeus named the Cicada which means “tree cricket” in Latin. The group’s genus Magicicada comes from the Greek word Magi, meaning magic. The lifecycle and metamorphosis of this cricket was observed by ancient Greeks, Chinese and Mayas. They craftily associated the creature’s emergence from the ground and transformation into a winged invertebrate fully capable of flight, to rebirth and the immortality in poetry, literature and art.
In Maya and Aztec Culture, a carved jade cicada was used in funerary rituals. The carving was placed on the tongue of the dead prior to burial and believed to at some point bring new life to the dead just as the cicada emerges from the ground and sheds its dead skin. ‘
10:10 am • 15 July 2014 • 1 note
From The Aquarian :
Wrack With Ruin
photo by Chris Childs
As with any sort of noise project, trying to define Magicicada and explain what’s going on in Wrack With Ruin is quite difficult. At times the album is glitchy, at others it’s melodic, and at others it’s just plain confusing. There are harrowing vocal samples and sounds that couldn’t possibly have been orchestrated; here, mastermind Chris White proves himself to be a master of the printer sound. One thing is certain: Wrack With Ruin is heavy and dark in a way that makes it difficult to listen to fully. It’s really good, but just like Death Grip’s LP No Love Deep Web, it’s so hard-hitting that it might be tough to go from start to finish. However, the farther in you get, the easier it is to take in.
The 15 tracks on the record are all so different, it’s impossible to just sum the album up with a few of them. “Glancing Off The Edges” seems to take inspiration from sci-fi alarm sound clips. “Pardon You” features an almost laugh-inducing accordion. The strings on “Homeopathic Processor” and “Livewater” give me the mental image of a giant many-legged organism playing a bunch of poorly tuned violins. “Blossoming Snares Of The Earth” is a spaceship banging on drums. If that doesn’t convey what’s going on, literally nothing can.
Projects like Magicicada are what truly reveal genius. For a lot of people, defining this as “music” would be difficult, but there’s something really challenging about making music out of sounds like what are present here that conventional composers lack. I don’t mean to make writing music sound easy, but the world is full of people who can sit down with a piano or a guitar and bang out a song, but I’m not sure if they could take all these zany bangs and blips and make them into something that’s listenable. A tip of my hat to people who can, like Chris White.
In A Word: Bold
—by Matt Garrison, June 18, 2014
TAGS: MAGICICADA, MATT GARRISON, WRACK WITH RUIN
12:26 am • 7 July 2014