Pedestrian Deposit: Dyers’ Hands (Monorail Trespassing, 2019)
November 8, 2019 at 7:33 pm | Posted in Reviews | Leave a comment
Pedestrian Deposit: Dyers’ Hands
Los Angeles duo Pedestrian Deposit are absolutely unforgettable in concert, producing unremittingly harsh but controlled noise using electronics and self-built instruments constructed of junk metal and wood, including a violin made out of a branch. The few recordings of theirs that I’ve heard do an incredible job at transferring that energy and unpredictability to tape.
Dyers’ Hands, like many of their releases, appears on their own Monorail Trespassing, and it’s astounding. “Crow Theory” opens with a minute of delicate plucking before leading into raucous, cut-up noise which thrashes and threatens to combust and burn the house down. “What Can’t Be Given”, however, is a tranquil sea of cello and tape drifting. “Auger” is a more Deathprod-like swarm of electronic drones and feedback, as well as swooping tones generated from something called a string brace. “What Can’t Be Taken” sporadically shifts between disorienting noise bursts and quiet, icy stillness, including sounds literally generated from ice as well as the clanging and scraping of junk metal. The 18-minute “Beneath the Salt” is a mini-symphony for more branch instruments (violin and string bass) as well as cello and electronics, flowing from soft rumbling to deadly noise attacks, ending with a solemn, stirring cello section. Gorgeous, powerful, perception-shaking work.
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