CNV14 | 28.03.2005


Don't Need More Songs To Cry To

01. Don't Need More Songs to Cry to

ALL FILES (Download)


The title of Thomas Ekelund's outing on Con-v ( his first online release in four years! ) is just a possible frame of reference for what sounds like an (albeit wholly deconstructed) guitar which initiates the work. (Is there a more archetypical songsters instrument than the guitar imaginable?) But what is heard is not another one of THOSE songs: this dirge of rusty, acidic spilling out of dead words sounds like fate itself (sonically personified as a primordial entity out of Lovecraft's Ctulhu-cyclus) crying out. This might be reckoned as 'blues' - only that any affective coloring can not be straightforwardly ascertained on this 'meta-physical' level; nor, for that matter, can any tears. [Set to auto-repeat, the cosmic leakage is in turn plumbed, only for the vessel to be punctured anew - again, and again, and again...]


artwork by Thomas Ekelund / liner notes by Mark Pauwen



This is a 19-minute beatless foray into a slowly evolving hostile world of deconstructed guitar scrapings, dense textures of undulating static, chaotic noise, and dark, resonating drones. An initial layer of muted guitar scrapings is gradually submerged within rolling waves of angry ambient noise that create an increasingly threatening atmosphere before subsiding into a brief culminating moment of pitiful minimal noise.


[ Larry Johnson ]



Vital Weekly


Behind the strange moniker Dead Letters Spell Out Dead Words is one Thomas Ekelund, who has released a couple of works before on his own Fukk God Lets Create label, Ideal and Dreamland (see Vital Weekly 407 for instance) and who is also a member of Normal Music, Dead+Hurt and Winquist/Virtanen. This new release on Con-V is his first online release in four years I'm told, and it starts out with some highly concrete sounds, which, as the piece moves on, fades over in some highly dense layers of likewise highly obscure sounds. These sounds do remind me of cars passing along a highway, but heard when the listener is asleep, highly blurred I'd say. Whereas as his previous work on Ideal Recordings was more Brian Eno meeting Christian Fennesz, this is more Eno on a lazy thursday afternoon - not the easiness by which this was made, but the gentle passing of time via ambient music. Not surprising, but nice for sure.


[ Frans de Waard ]