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REVIEW: Pedestrian Deposit – Fatale

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Just like many performing noise artists, well, real noise artists who understand and compose cacophony as something more than aural shock value, the sounds of Pedestrian Deposit are comprised physically and sometimes violently, creating art by using technology and instruments completely opposed to how they’re traditionally meant to be utilised. Electrifying metal to collaging tearing feedback to primally implementing his own blood and body as a medium of noise, Fatale embodies sheer emotion to produce unbridged destruction and utter despair.

As hinted on the quivering first track, “Svelte”, Jonathan Borges’ diverse pallet of shredding sound is expansive, mixing high-frequency feedback with distressed crackle into the pure anger of manipulated electronic distortion. Following song, “Textile” cut and pastes’ snippets of explosive noise before making way for the hopelessness of a tattered and reverbed piano sample nitpicked with underlying abrasive ambience and ending in jump-scare power electronics.

Hearing these two opening tracks makes it understandable why Pedestrian Deposit are not avid tourers simply due to the complication and emotional anguish associated with the production and performance of such demented sounds. Though not present in the recording of Fatale, current member of PD, Shannon Kennedy, sums up the catalyst of their projects as inner negativity in the duo’s 2015 interview with Peter Holslin, “We’re dealing with a lot of the darker sides of our personas. A lot of it is working out sort of mental issues.” The final two songs make this depressive reality even more obvious and undoubtedly rival or arguably overcome the pinnacles of oppressive noise and emotionally-driven modern experimental music.

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“You Can’t Help Me” sounds as irreparable as its title, crushing static mixed above a despairing solo, gradually drowning out the tuned percussion into full-blown harsh chaos, a frankly disgusting collage of banging noise twisted in and out of what sounds like orchestral tape manipulations akin to William Basinski’s Disintegration Loops. Pedestrian Deposit’s 18-minute opus closes the album, “Mascara”, a sadomasochistic drone-based piece morphing into the horror of death ambient, low-key noise and finally scathing harshness. It’s an unrelenting suite of unparalleled angst, of anger, of intensity. Imagining the mental strength to compile such a cataclysmic piece adds to the compelling nature of Fatale and ends such that no questions are answered.

Jonathan Borges does not create spineless, uninspired noise. Fatale’s arrangement of noise, which spans over the entire spectrum of intensity, instead harnesses the characteristically distressing timbre of the genre to spell inner struggle in a beautiful way, however unforgiving it may be.

10/10

– Ry

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