Review: Hunted Creatures – Summer Tour 2011 Cassette (Dynamo Sound Collective, 2011)Posted: January 25, 2012
Pittsburghian collective Hunted Creatures (including the mastermind behind Dynamo Sound Collective, Ryan Emmett) specialize in creating impossible to pigeonhole psychedelic collages that appear to be equally inspired by krautrockers like Amon Duul II and industrial pioneers like Throbbing Gristle. Their Summer Tour 2011 Cassette is a short, yet healthy dose of tripped out sounds to lose oneself in.
The two untitled tracks contain a sort of slowly unfolding, electronically enhanced psychedelic melting pot that I absolutely love and which reminds me of the iconic krautrockers’ earliest days, when they would just get together and jam the fuck out (the similar approach to music as here was already applied on Can’s caveman jams from their Prehistoric Future outtakes). What was there however was an avant-gardish approach to rock music, with rock still being at the very core of Can’s experimentation. Here we have an amorphous, non-descript musical being leaving far behind the trappings of such outdated and vague genres as “rock” or “electronic”. Side A is much more on the machine side, gazing fondly at the ancient tape experiments and the abrasive circuit fuckery of early UK industrial acts.
Side B is much more “human” based, with less emphasis on machinery and more focus put into “live instruments” and even the bodies of the performers themselves – the endless clapping in the beginning sets the irregular rhythm for the sparse, droning violin (or a similar instruments), like a very early, dark and unorganized stage of an Amon Duul II jam. The handclaps fade in an out, a silent drone hums in the background, and gradually a rolling, crushing drums come in, together with a phased, fuzzed-out guitar solo, which doesn’t dominate over other instruments (like rock musicians would do), but instead is brought to the level of other background noises, like a faux-oriental sinister electric organ (Farfisa?) line. Like a cherry on top of a birthday cake, the ending brings a wonderful series of random fade-ins and fade-outs of the drums and the guitar, which are abruptly inserted and cut from the “basic” handclaps-violin-drone texture. The cut’n’paste bliss at the very end is a good example how much the sound can be enriched by good post-production and studio manipulation.