The Wire Review: Quake

Last year we saw the welcome reissue on ReR of Headlock (1989), the debut solo album by US electroacoustic composer Thomas Dimuzio, which is hallmarked by his sure handling of an expansive, yet detailed, sonic architecture crafted in the studio. However, Quake finds his samplers and processors feeding off Chris Cutler's percussion ('electrified' and otherwise) and sundry objects in two live improvised performances from March this year. Both events have been subdivided into numerous short, titled tracks, though in many cases the music appears to be continuous. Given the vampiric nature of the process, authorship of sounds is not always easily attributable, but the general impressions of Cutler's abrasive percussives, and gritty electronics supplying the microsonic detail, with Dimuzio expanding these textures and unleashing his own ominous stormcloud drones. The result is intelligently paced, decidedly atmospheric noise mongering. —Chris Blackford