I attribute my interest of experimental music to albums like Exhaust’s debut effort. Albums where seemingly odd concepts are melded together into one cohesive vision. On paper, the idea seems weird and unusual, but the result is something that is wonderfully interesting, placing you into this mindset that no other album would ever manage to do. (I’ve been told such observations on experimental music is a ‘cop-out’, but the fact is each experimental album does throw us into something unique, and surely that is worth something?)
Exhaust is certainly an odd machine of an album. Hypnotic rhythmic drums (Aidan Girt) push us along through the moaning of bass clarinets (Gordon Krieger), offset by the occasional sample and/or live reel-to-reel tape distortion (Mike Zabinski), resulting in a very moody and unsettling experience that is wholly intriguing. It all feels incredibly political, all ready to make a statement on issues that feel horribly ignored. Similar works include Aidan Girt’s other projects, from Banukin’s Bum, to Bottleskup Flenkenkenmike, to of course 1-Speed Bike, all of which feature that odd tinkering and reworking of subtle concepts built around kinetic drums and bass. Here on Exhaust, it’s perhaps a bit more easier to digest, though the whole work is one that is dark and moody and wholly unusual. Those interested in Girt’s projects would find Exhaust a good launching off point, as well as 1-Speed Bike, which we’ll come too at some point in the future.
Political albums built around experimental musical concepts? What a weird thing to say out loud… Good thing it works though. It’s unlikely to be the kind of album you’ll want to listen to over and over again, but the experience is definitely note-worthy.