Ocsid: Opening Sweep

ocs-os.jpg (11k) Ocsid: Opening Sweep
(Ash International - 2000)

A shadowy panorama of gritty soundforms, disparate sampling and ominous moods unfurls in Ocsid's 75-minute-long Opening Sweep. In a live collaboration of computers, samplers etc. CM von Hausswolff (of Phauss/KREV), Edward Graham Lewis (of Wire/Wir/Dome/He Said) and Jean-Louis Huhta (of Lucky People Center) cross synthetic streams-of-conscious into one sometimes-disjointed flow of electronics and ideas.

From within a fluctuating drone wave, an assortment of audio occurences (voice fragments, electronic chitters, wavering frequencies, machine noise) periodically emerge and are then swept away on the continually coursing soundstream which thrums with dark powers. The central currents morph into new dronepatterns, which recede to reveal their former selves at a distance, topped by sporadic electromechanical impulses which only add to the isolating gray murk. Windy slurs seep across the scene, bringing unexpected piano tones, barely discernable beneath the increasingly violent sweeps which begin to simmer like a radiation storm...

A vast sea of rolling turbulence (into which generally-unintelligible spoken snippets and robotically-musicalized phrases are injected) smooths into a humming plain of electric buzzing. The much-repeated (and oft-mutated) phrase of "you've overstepped the mark!" reinforces the notions that things have gone too far... Occasional rhythmic blurts begin to force their way in as do subtler techtronic sizzles, and more overt white-noise outbursts.

Rhythms from the silicon jungle start to stir beneath a broiling sky of warring electrons and a blitzkreig of spasmodically churning feedback loops. That assault subsides as autonomic machinery pulses (in one ear), muffled PA voices make announcements and various disintigrated musical interludes are strewn about the ever-changing scene amid wavering strands of energy. Stellar voids carry a symphony of bleeps, tinkles and odd percussive effects into spacier territories, complete with squawling solar curtains (and locomtoive sounds?).

By the one-hour mark, the scene has converted into a darkly spunky groove and technotribal beats (then into annoyingly-chipper blips-and-drums, then an equally obnoxious marching band thing). The final moments begin to slur downard (with more train sounds) into a crescendo of crunchy emissions and vocal chant which slams into a very unanticipated wall of silence.

If you're looking for a continuous flow of immersive sound oddities, I say get Ocsid-ized by the continual morphications of Opening Sweep; perhaps a little tightening could have made for more overall cohesiveness, but for sheer immersive strangeness this improvisational live-set offers an unpredictable environment of 8.2 eclectic listening.

Distributed by Dutch East India.

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This review posted February 28, 2001

AmbiEntrance © 2001-1997 by David J Opdyke (except CD cover art, rights retained by original owners).