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Erg (CDR)

>Five lengthy pieces of noise related music. Noisy but interesting pieces. Each of them has a strong identity of it's own, be it strict monotonous noise, be it rhythmical or even a bit drone (within the realms of noise of course). A thoroughout very consistent release.... The music is quite nice and that's what counts. (Vital #472, Frans de Waard)

>It came packaged in a DVD case, some material placed under the clear outer casing with a sun-like shape printed on it. Just the thing for a bright summer morning. Inside, the CD design echoes the sun symbol, hand printed and accompanied by a sole sheet of paper outlining the artist name and track titles. This is Wirewall. Now, the thing is, I've been getting a bit jaded by the number of abstract ‘bleepy' electronic pieces I've been receiving recently. Insert the CD to trigger the detonation of heavily synthesized blast-tones then sit back and attempt to endure the rest of the track as it takes you on an unintelligible progression through no-man's-land appearing at the other side no more enthused than you were at the beginning (which was, in more cases than not, a fair while ago&ldots;). That said, this release from the USA's Cohort Records is, an exception. It all kicks off with trademark syncopated spatters, panned hard left and right to endanger your sense of balance when wearing headphones. But then, the pounding bass enters and follows its sequence through to its dropout point leaving the incessant drum loop and hook to continue unaccompanied. The bass returns and another build up takes us to the bridge where the drums subside and simmering pads tentatively tiptoe onward until its time to bring back the beat. The analogies to a typical song structure here aren't misleading. Cyclotron, the first track on Wirewall's album, and a couple of others throughout the 5 tracks, very much resemble this. Far from being predictable, this certain sense of ‘knowing' is actually quite refreshing and the fusion of a ‘block' layout and abstract noises set it apart from many of its peers. That said, the mammoth last track Cloudchamber, clocking in at 24mins 40, doesn't see the listener off well. Sine wave shaped arches of noise roll on whilst sounds resembling improvised FM synthesis go off at a tangent upsetting (or equaling, I suppose) the balance of everything that had gone before. It is as if the composer, in all their attempts to escape the rigor of the genre, fell foul of it at the last hurdle. It is a shame that the album should get pulled down by an inconsistent final track, but nonetheless I would wholeheartedly recommend taking a listen. (Furthernoise)


Terminal Man (CDR)

>One of the projects of John Gore, head cohort of Cohort Records, is >wirewall<, which was mentioned in Vital Weekly when discussing some of his other work, as Kirchenkampf or The Oratory Of Divine Love. I think we should regard >wirewall< as his noise project, although on the other hand we could also see this as the extended, extra part of his other work. It seems to me that here too Gore works with radio waves [no I don't, jdg], also feeds them through a bunch of synthesizers [no they're not, jdg], adds a few sound effects, but whereas in his other works the outcome would be droney, atmospheric music, the outcome for >wirewall<  is noise. Piercing sounds, but not in an unpleasant way and Gore allows the listener to hear details and mixes together several layers in a clever way. It has a sort of vibrant, improvised feel to it. Maybe as a whole, its all a bit much, but throughout I thought this was quite alright, when served in a smaller dose. (Vital)

>John Gore, the owner of Cohort Records, releases his own music under various monikers (The Oratory Of Divine Love, 'kirchenkampf', JDG). Another vehicle for his experimental work is >Wirewall<. On this second album, neatly packaged in a slim DVD case, eight very 'electrifying' tracks appear. It's like listening to a severely distorted radio broadcast, or to electronic distortion in general. The tonal variations are too big to call it drone music, but it comes quite close. High tones dominate which makes for a shrill sound, but Terminal Man never gets aggressive or completely uncontrolled. It nevertheless requires strong nerves and a big love for such kind of music to really enjoy this piece of jarring sonic exercises. (Gothtronic)

>With what sounds to me like a cross between the old BBC Radiophonic Workshop electronic experiments of the 60's and harsher underground noise (think "Dr. Who" theme meets Merzbow at his most ear-draining), this mysterious project contains some of the more abrasive sound I've heard in some time. Contained in a deluxe DVD-sized case with obscure art, >wirewall<'s seemingly freeform electronic textures are jagged and difficult, with swollen shards of digital feedback alongside analogue synth burbles and gurgles. The initial track, "electrode", is packed with wicked bursts of static and squealing pulses. The rest of the album isn't exactly easy listening, either. "memristor" is lower key, but still a clot of alien electronica with disorienting machine whines, whirrs, and proto-computer gibberish. "Terminal Man" is recommended only for those who favor chaos and noise, so fans of tuneful sounds approach with caution here. (goatsden)

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