Inclusion Principle - "The Leaf Factory Fallback"
From Aural Innovations #43 (October 2011)
"Ugghh", I uttered mere seconds after initially slipping this disc into the player, "not more boring minimalist glitchy avant-garde crap"! And the opening cut does have a rather tedious intro, but after a couple of minutes a door opens to some fairly interesting soundscapes... and, as seems typical for the genre, the mood is creepy, ominous, haunting, dark dark dark. The primary track was recorded live and later expanded and remixed. The two players/mixers are Martin Archer and Herve Perez, and both are credited with laptop/software instruments and saxes - Herve on soprano and Archer on baritone and "sopranino", a rare type of sax that was hitherto unknown to me... segue into Nettles Shall Possess Them and one of the saving graces of some of these tracks is a heaaaavy bottom-end in the form of some creeping low-freq bass lines, providing a contrast to all the tinny high-end spurts, spits, chirps and tweets, field recordings included. As we move through the caverns of horror, we encounter baritone sax drones amidst all the waves of sweeping sonica in Traversee Du Fantasme... intense... the sound-construction/deconstruction works to a truly great effect here. Pretty similar stuff to the Kobi albums reviewed not long ago. And Other Fell On Good Ground: now there's some spaced out melodious keyboard which serves as a reprieve. As this disc plays you won't notice the tracks change. The organ-like pounding of Factory Upsetting is a pretty far out sound. Actually, I have no idea how this instrument-sound was developed, but some sort of treated or synthesized organ is the closest I can think of, medieval-gothic-oppressive. Between Circle and Square throws some random voice-sampling into the mix... numerous shapes of static and sharp scything sword sounds... and now an actual drum program! As all the noises and effects fade out, North Of the Far North brings the album to an end with a smooth kind of klezmer-ish sax soloing over soft keyboard. Yeah, the horn sounds clarinet-like: after finally doing a little research on the instrument, I believe this may be the sopranino.
As noise-oriented music goes, it doesn't get much better and there are detectable rhythmic elements that bolster the listening experience beyond pure noise appreciation. I also wonder to what effect track-titles have the potential to expand one's perception of the actual sounds, hence bringing in the listener's own imagination to a greater degree as a key to appreciating this type of music, or "sound-scape/sound-art", if you prefer.
For more information you can visit the Inclusion Principle web site at: http://www.myspace.com/inclusionprinciple
Visit the Discus label web site at: http://www.discus-music.co.uk
Reviewed by Chuck Rosenberg