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ABOUT THE CODA/RELEASE: "It All Falls Apart" is an evolution of rejected themes that were written for James Hartley's "Arrhythmia" as well as new and stripped down/manipulated versions of the original songs with additional instrumentation.

FROM THE RECORD LABEL: "It All Falls Apart", is a slow, fog-enshrouded journey upriver into the mouth of madness. Slow, frigid waves of sound seep in from the misty distance. White noise clashes with subsonic percussive crashes piling on the unease and tension that builds to an appropriately lunatic conclusion. The B-side features a remix of the entire piece by Steven Hess (Locrian, Pan American, Fennesz, Ural Umbo). No computers were used on the remix. The piece was literally done by hand, using cd Walkman, desktop cassette player, phone taping microphone, looper/sampler with three altered loops, drums, and a cinder block with contact mic. Black cassette.


"To be honest, I've heard a lot of "," and it's a genre that really tends toward the mediocre and the nondescript. It can still be nice, but it's not impressive. Worse yet, half of it sounds like half-assed sound design from a computer RPG. Adrian Aniol's on top of the game here, though.

It All Falls Apart has all the important hallmarks of a fairly traditional record. It's huge, amorphous, and threatening, like a nightmare you can't explain that leaves you shaken half the day. While there's a feeling of pitch, it partakes more of Ligeti's pitch-saturated sound masses than anything like melody or harmony.

And just when that, wrapped around disconnected rhythms and waves of intensity, becomes grey, Aniol moves to the and begins to evoke.

Then (at the risk of fawning), Steven Hess comes along. Side B of It All Falls Apart is a Steven Hess remix. So what, you say, anyone with a name can throw together a quick rearrangement on a laptop and make some cash. Sure, and most of them do a fucking fine job too. Hess, however, opted for the tape machine.

I'd also like to add that Hess takes the material and makes a completely different track with all of the same atmosphere intact and still engaging. Each half of this tape could stand on its own."

The Inarguable Magazine

released November 11,

Writing, Arrangement and Production: A. Anioł
Decay Piano: Eric Rossen
Mastering: Bodek Pezda at 2.47 Studio
Photograph: Bart Van Damme
Design: Utech

Copyright MMXI Adrian Anioł and Utech Records.


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