#IMPOSTOR FACTORY REVIEWS FREE#
Pierre – Canyon (Los Angeles) (Here Free Press, May 20) ⮡ Most Valuable Players: 2018, 2019 Search for: Categories **Material hosted on Nina Protocol or any other platform associated with cryptocurrency, NFTs, or artificial scarcity of any kind is also very much unwelcome here. If you have rehosted previously reviewed material elsewhere and want me to switch links, please reach out.** I know this is not the most convenient policy for many, but blame Bandcamp, not me. Only submissions of any other kind-self-hosted, physical (email for address), file transfer, FMA, Soulseek, etc.-will be accepted. **I will no longer review or link to any material hosted solely on Bandcamp. If you’d like to write a guest review or essay (or anything, honestly I’m not picky), just let me know.Ĭontact/submit via for physical address. I almost always restrict coverage to things that have come out in the past two weeks or so.Ĭurrently the site is written by just me, Jack, but I’m open to expanding in the future. Also, I will be much more likely to review an album if it is not sent as a promo blast/press kit. However, I only review albums I like, and the “reviews” themselves (“blurbs” might be a more accurate label, but god, what an awful word) are more intended to encourage discovery rather than to express my personal opinion. When I say nothing is off limits, I really mean it.
If you have an album you’d like me to review, please email me or comment on a post. I tend to focus on material that resides in the experimental or avant-garde realm of music, but nothing is off limits. I do not agree with the statement I’ve chosen as the title for this site everything I write about here-a great deal of which could be called “noise”-is music. Here you’ll find reviews of recent albums, various features and lists, and occasional mixes. Imposter, perhaps more than any other release so far, permanently inks Darksmith in as “the master of externalizing the inner maelstrom.” There are countless moments of brilliance scattered throughout, but the humbly harrowing end of “Hold Everything” might win out, shuddering to nothingness like a rattling final respirator breath. The titular imposter is caught between inside and out, lurking by rotting birdhouses and sputtering HVAC units for just as long as it spends creeping through basements and bedrooms.
“Looking for Idiots” and “Problem with Everyone” feature both bedroom-Blockaders clatter that would be right at home on Broken Brain or Dancing Out the Door and nocturnal, precariously cozy tape drone very much in the spirit of Gypsy. Like Hatred of Sound, the four tracks mine a lengthy span of source material (2012–2019), the eclectic mess carefully shaped into a focused half-hour suite that runs the gamut of sonic preoccupations old and new. Originally slated for an in-house LP release, the two 15-minute sides ended up in the capable hands of Throne Heap, who elected to press them on a run of gorgeous digipaks that feature some of the project’s most unsettling art yet. That shifty, shadowed, corner-born juh naysay qua is especially relevant in the case of Imposter, the first proper full-length we’ve gotten since 2019’s Poverty of Will. Since then, unsurprisingly, the reclusive California-based artisan has covered a lot of ground, and yet each and every entry in his oeuvre has the same core element, an indefinable but undeniable stylistic singularity (or void) at the heart of the music that makes it distinctly Darksmith. It’s been just over fifteen years since Darksmith released his first limited-edition Mom Costume recordings and self-titled tape via Hanson, and almost exactly fifteen since Weightless came out on Chondritic Sound.
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