There is an odd psychedelic quality I perceive. I think it’s somewhere between the inclusion/illusion of tonalities, and the usage of delays in this noise music Justin Marc Lloyd has put on these tapes. This is definitely in the category of noise music that I enjoy the most. It’s dingy analog overload intensity is warmly welcomed by my imagination. I enjoy the many different directions the sound takes, which are not easy to predict, but take a course that doesn’t seem completely random. I can’t see so clearly how a lot of the sounds would be made, what the source material would be, or what kinds of manipulation are taking place. I can pick out a few tricks here and there, and without demystifying them I’ll just say that I think some of the techniques used are interesting. There are odd drone-out segments that spiral in or outward into the next wave of heady distorted weirdness, bringing out the transporting, psychedelic feel that I get from this recording. If there weren’t any troughs in the intensity, the overall impact wouldn’t leave so much room for mental travels. There’s a piece of plundered music, slowed down and distorted, muffled under a blanket of static at the middle/end of side b. Strange. Kind of demented, showing maybe a humorous vent. Lots of blasting, gurgling and scraping wound in neon gauzes of overdriven tape.
This is some very well done, spur-of-the-moment noise work. The zine that comes with it, which is made up of various trashed images manipulated by a b/w copy-machine, is pretty fun, too. Artwork overall is fabulously colorful and explosive, as is deliciously par for the course for Rainbow Bridge. I enjoy the introspective and emotional injections that JML posits in his work, whether in his descriptions, titles, or artwork. His is a unique and enthusiastic take on noise experimentation that I view as a valuable contribution to the stew of home-recordist noisists.