#072
“Quiet Nights”
As I mentioned in #070, I’ve been on a bit of a run of quieter Drumm pieces lately and (spoiler alert album title) this two track album is no exception. Opener “quiet nights 1” is a low key, slow moving, somewhat sinister sounding track of bass-level drones, with other occasional tones thrown in from time-to-time. “Quiet Nights 2” has a similar sound bed but a bit more activity throughout making this track a bit more agitated in mood. Even though the low end sounds are (presumably) electronic in nature, they sound a lot like someone is playing an actual double bass. I realized after it was over I felt like I was still hearing it in the hum of the various machines (refrigerator, dryer, dishwasher) in my home, so that’s a bonus.
Rating: Kevin Drummmm
#071
“Hello!”
That exuberant title is certainly misleading, or maybe it is intended to be sarcastic. Regardless, this is a dark track of ominous drone sounds, with maybe a little bit of a spacy edge at times. Goodbye!
Rating: Kevin Drummmm
#070
“January”
It seems like I’m on a little streak of quieter Kevin Drumm pieces, and I’m fine with that as we continue to leave 2020 in the rearview mirror. This is two tracks that fit seamlessly together featuring overlapping mellow drone sounds. It’s all quite peaceful and lovely. And, it also has one of the best cover photos so far…release the bat!
Rating: Kevin Drummmm
#069
“May (Part 1)”
As usual, my diary things are mixed up. This is “Part 1,” but I’ve already posted about “Part 2” (which you can find on this page at #032). This is a longer (40 minute) track and on the more quiet side. Its ambiance is sometimes lonely, sometimes scared, and sometimes ominous. And I like the frequent presence of the subtly rumbling bass drone. Other Drumm releases with May in the title (there’s also a “May 1” in these pages) have tended to be on the quieter side, and to my ears they keep getting better.
Rating: Kevin Drummmm
#068
“Redundant Phase”
Why this was not called “Albatross” we’ll have to leave as one of the mysteries of our Drumm world. In any case, the first track, “Albatross Version A,” begins sounding like a cuckoo clock on acid (not sure if that would be the clock or the listener – maybe both). A bit before the half way point a more ominous, synth keyboard enters and seemingly tries to smother the clock; spoiler alert – it does after several minutes. Toward the end all other sound drops and it’s some low key buzzing and drones for the chill out. The other track, “Albatross Version B” (but you knew that would be the title, right?), sounds like that cuckoo clock again. But where the earlier version stated out bright, this time it sounds like the clock is malfunctioning and slowly breaking down.
Rating: Kevin Drummmm
#067
“Spectral Gaunts II”
My first Drumm listen of 2021 and, if “Spectral Gaunts II” is any indication, we’re off to an excellent start. This track is primarily made up of a quiet, repeating, two-note, sing-song pattern, plus a slow-motion, ambient rumbling. It works by lulling the listener into a meditative place, perhaps at the bottom of the ocean. About half way through, a few other gentle noises enter, mixing with the initial sounds. And that title hopefully suggests there’s a “Spectral Gaunts I” off in the distance, but we shall see.
Rating: Kevin Drummmm
#066
“Electronic Harassment 4-5”
Here are volumes 4 and 5 of the “Electronic Harassment” series; my diary entry of Vol. 6 is #014 on this page, while earlier albums in the series will follow later due to my patented “random” methods. The long opening track “Cthulhu is Lazy” features a base of very quiet manipulated static and processed softened jackhammer in various doses. I’m informed by my family that there are also some very high pitches that were annoying them but, alas, I could not hear (as discussed in previous entries). My new noise-cancelling headphones should solve the problem of electronically harassing my family, but my tinnitus has no such easy solution.
“EH Vol. 5” is apparently the three “Move Your Head” tracks that round out this release. These are made up of tones that would largely be familiar to anyone who has had their hearing tested by an audiologist. I think I probably missed a lot on these three. Especially on “C,” where I could not discern any sounds that were not already my constant aural companion. Giving this a low rating for me, but your mileage may vary.
Rating: Kevin Drum
#065
“Minutiaed”
I continue to wrestle a bit with that title as I’m not sure it’s an actual accepted English word. But maybe it should be, maybe focusing on the small details to create something should be that word, and maybe that word would be a good description of this album. I guess I’ll allow it. The two tracks here feature quiet drones and very subtle pulsing. “ONE” was one of those tracks I’ve discussed before that seems to be made up of mostly high pitched sounds that I either miss entirely or do not enjoy due to my hearing issues. “TWO” was a little louder with some slightly deeper drone sounds. It’s my diary so I’m giving it a low rating, but your more finely tuned ears may find more pleasure here.
Rating: Kevin Drumm
#064
“Twinkle Toes”
As I listen to “Twinkle Toes” I am fortunate to be sitting in a house that has an amazing afternoon autumn view of some tree-covered mountains and rolling valleys. The first track (“TT 1”) is a beautiful, barely there, ambient piece; perfect for that setting. The second track (yes, you guessed it, “TT 2”) offers what sounds like layers of banshee wails off in the distance, which is also perfect for a mountain sunset view soundtrack. Kevin’s instructions on this one are “Play at low volume, don’t be a wuss by turning it up.” It made me laugh, but it’s also appropriate guidance.
Rating: Kevin Drummmm
#063
“The Old Hag”
Oh boy, we are back to the noise with this one and it is glorious. One long track of thickly layered screechy static. This is one of those tracks where I’m not sure if I’m actually hearing things in the mix or if my mind (and the busy sound) is playing tricks on me. Was that a train? Did I just hear a sample of a Soviet revolutionary chorus? Is someone screaming? It might all be there, or none of it may be there; it’s okay to leave some mystery in our relationship.
Rating: Kevin Drummmm
#062
“March”
Here’s another calm one. One long track of very quiet, what I guess I would call somewhat wind-like sound washes that come in waves. This “March” comes in like a lamb and goes out like a lamb.
Rating: Kevin Drummm
#061
“The Sea Wins”
Just what the doctor ordered to calm my nerves on election eve; I first listened to this as we were a few days away from the presidential vote. Featuring gentle drones and pulses, this is a very peaceful and beautiful listen. Don’t fight the sea, the sea wins.
Rating: Kevin Drummmm
#060
“Dying Air”
This is an interesting one; apparently all acoustic. It consists of four longish tracks that come with another listening recommendation from Drumm: “Play this on a stereo and go into another room while listening.” If you interacted with these sounds that way, it would probably sound like someone rooting around in the other room and you hear the occasional unoiled hinge, rubbing metal, cranks, wood knocks, and similar sounds. It’s somewhat minimalist and the louder noises are scattered (although fairly frequent). I decided to be rebellious and stayed in the same room for the duration of “Dying Air.” With more focused listening, my main takeaway is that, by the fourth track, some of the “screeching” noises started to sound like whale songs or an errant trumpet. Or maybe a whale playing a trumpet; I was in another place mentally at that point.
Rating: Kevin Drummm
#059
“Necro Acoustic 5 – Organ”
Well, well, well, if it isn’t the fifth of the original 5-disc, highly acclaimed “Necro Acoustic” box set. [My reviews of the others can be found in entries #002 and #018 on this page, and entries #031 and #048 on this page. And since I’m listening to this catalog randomly, those entries were for discs 1, 3, 2, and 4, respectively.] “Organ” features one long track of an alternating pattern between hum (sounding vaguely like a distorted electric guitar about to shred) and noise (sounding vaguely like a car engine trying to start). It’s mesmerizing and could help induce you into an alpha state, but I could also see how it could drive someone to madness, so know yourself before submerging into this one.
Rating: Kevin Drummm
#058
“Primate”
Something about naming the first track “Primate A” and the second “Primate 2” tickled me, but then again I am easily amused. “A” features fuzzy noise and distorted drill sounds, with one sound drop out midway through and a relatively subdued runoff for the last several minutes. Meanwhile, “2” is that consistent sweet, sweet electric hum.
Rating: Kevin Drummm
#057
“Recline (116 Minute EP)”
Despite the explanatory title, I did the math anyway on the three tracks included on “Recline.” It checks out; one hundred sixteen minutes, indeed. What we have here is ambient music with perhaps a very slight edge to it, moving along at a glacial pace. It’s lovely. And I’ll add a literary side note: Kevin thanks Clarice Lispector in the notes on this one. I’m guessing that’s the Brazilian (by way of Ukraine) writer. I have not read her work, but she sounds like she has an interesting style, and now I have another list of books to check out. This “EP” might be good music to loop and read Lispector by, or to just chill no matter what you’re doing.
Rating: Kevin Drummmm
#056
“Second”
This is a bit of a sound sandwich; two long tracks on either side of a short one. The first two didn’t do a lot for me. They were mostly very quiet with occasional very short interjections of various noises. The third track, “We both liked the view,” was the highlight. It offers drone variations that come and go several times over its 22 minute run time. It won “Second” it’s third “m.”
Rating: Kevin Drummm
#055
“Mercy Cuts I”
The title implies there is a “II” out there somewhere, but I can’t find it. Nonetheless, the two tracks here (Part A and Part AA) are of a piece, with very slowly pulsing drones. It’s a fine recording, but for me there’s nothing too special about this one. Except that cover; I like that photo.
Rating: Kevin Drumm
#054
“February”
I know this was made with tone generators and bass pedals but, as is often the case, it sounds like (modified) working machinery. The track starts very quietly; I mean, like “is this thing on” quiet. But it slowly fades up to what could be the putting along of a slowed down motor. There’s a slow fade out to that “barely there” sound and we’re out. You know what this whole thing feels like? February in Chicago.
Rating: Kevin Drummm
#053
“More Answers”
It’s the machine creating constant slight metallic hum and drone and feedback variations. It says it was recorded at “Hell Is A Hotel Room,” which may account for the slightly distressing mood. I have no more answers.
Rating: Kevin Drummm
#052
“Christ!”
I could almost be convinced this is intended to be a pious offering. There’s that view of a religious sculpture on the cover. There’s the “D.Vobiscum” reference in the notes. Who is that, you ask? Well, it’s not a person; it stands for Dominus vobiscum, a Latin phrase (meaning “The Lord be with you”) which is used in many Christian religious services. And then there’s the music itself. The track starts off with some mild distortion and drones way down in the mix. But, like they are peering through the curtain on the album cover, the calming drones enter a few minutes in and take over for most of the track (except at the end when things reverse again, with the noise slowly replacing the drones). So with all this evidence why am I not convinced? It’s that exclamation point that is throwing me off. Regardless of the intent, this is peaceful and beautiful music.
Rating: Kevin Drummmm
#051
“Earrach”
Admit it; you read the title as “earache.” Frankly, that would be an awesome title for a noise release, but not for this one. Perhaps Kevin is just having a little fun with wordplay, just as he seems to have fun with many of the sounds and distortions in this three track album. I’m not sure what to say about this except it’s *singing* “a-ma-zing.” The tracks here are like a kaleidoscope of noise, constantly changing, but with little familiar pieces recurring. And there’s so, so much variety here, including some rare sampling and manipulation of voices and music. It also swings all over the loudness map, from barely there to excruciatingly loud (watch out for that early on “Earrach C” specifically). This is a masterpiece. [By the way, earrach is an Irish word for “spring.”]
Rating: Kevin Drummmmm
#050
“Wrong Intersection”
This is one of those long tracks the continually evolves and morphs, so it maintains your interest. It starts with a windswept opening and ends with some static of pitches that gets increasingly louder. In between, you get things like bleeps, harsh noise, ambient drones, stormy seas, pitches, clatter, and possibly ducks.
Rating: Kevin Drummm
#049
“The Next World is Better”
Originally released as a 7-inch record, I found this little single to be quite fun. The A-side features layers of sort of simulated hand claps that help the track bounce right along. The flip side has some slower drones and, maybe, an electric shaver. (Or maybe I’ve just got shaving on my mind because I got rid of a week’s+ growth from my face today.) This is the shortest release I’ve listened to so far, but the quality remains high.
Rating: Kevin Drummmmm