(STNT) Ambiances noires et torturées pour ce trio américain. Le très expérimental Public Eyesore revient avec une nouvelle salve de musique à base de stridences, de cacophonies, de tôles martelées et de sax grimé d'ambiances lugubres. Enregistré dans un entrepôt à l'écho bien sombre, on joue avec les feedbacks, les distos, les tôles, les grincements, les cris, les sirènes, des trucs mécaniques qui couinent à volonté. Cette K7 à deux faces d'un quart d'heure chacune propage des atmosphères inquiétantes mais aussi quelques brefs moments de pause pour respirer et ravira les amoureux des sonorités industrielles et des expérimentations dissonantes à base de percussions d'ambiances grinçantes et métalliques. - Valery John Klebar
(Bad Alchemy) Black Pits (eh?131, C-30) von HALLWAY FIVE entstand 2017 in Portland, Maine. Die Namen Sequoyah, Jacob und John sind dabei so obskur wie der Titel. Das Klangbild bringt Bläsergedröhn zu tremolierender Snare. Ein Hochzeits-Korso? Eine Demonstration? Aus Vuvuzela-Tumult oder Einstimmungsgetöns sticht ein quiekendes Sopranosax hervor. Und plötzlich lichtet sich das Zentrum, differenzieren sich Soprano, Trompete, Tuba (?) und blecherne Schläge. Um sich wieder tumultarisch und dröhnend zu ballen, mit krähender Trompete. B-seits ähnlich, mit furiosem Saxophon zu dröhnendem Mulm, prasselndem Noise, in teils abreißenden Schüben, doch immer wieder angefachtem Borbetomagus-Inferno. Low-fi und aus der Halbdistanz, bis ein Tenorsax hervorflammt und wieder eintaucht in die diffuse Noise- und Feuerwand, mit wohl auch dumpfem Synthkrach und Gitarrenfeedback als Zündstoff neben dem weiter kirrenden, fräsenden Saxophon. Heiße Ohren garantiert. - Rigo Dittmann
(Felthat Reviews) Another great release from Public Eyesore released both as a cassette and a digital download. This little project is definitely one of the trademark sound of Public Eyesore. It is set against the main theme that reminds me of a single minimal sound that is slowly manipulated and transformed and other textures are built around it throughout both tracks which are roughly 14 minutes (track 1 ) and just over 15 minutes (track 2). In many ways it makes me think of the techniques used in improvised music but here all those are used to create a certain ambience and atmosphere which leads to completely different results. The narrative and the way it is handled is way more dramatic and it is not merely intellectual adventure. It feels genuinely dark and Kafkaesque which is even emphasized more by great cover artwork. I am glad these kind of albums are out since it helps to understand how transformative for a listener and a composer artist even a short time devoted to active listening and creating brings so much goodness and advantage. - Hubert Heathertoes
(Vital Weekly) The final new release is on Public Eyesore’s cassette imprint, EH? and is by Hallway Five, which, surprisingly, is not a quintet but a trio of Sequoyah, Jacob, and John. Jacob is Jacob DeRaadt, who is also behind Sterile Garden. I believe the group no longer exists. The recordings were made in 2017, in a warehouse in Portland, Maine. No instruments are mentioned, but there seems to be some kind of electronics, very hard to define what kind, and wind instruments. The music veers to the noisy end, but it never becomes harsh or all too distorted. The music has a free aspect, particularly the saxophone, but it’s hidden in the cavernous space in which it was recorded. The two sides seem to have individual pieces, stuck together into two lengthy compositions, which makes this cassette quite varied; variations on a theme, as the approach remains the same, but they keep finding different approaches. At thirty minutes, this is also the right length. If I remember their music well enough, I am reminded of the Japanese noise act Dislocation. This is one coming closest to my taste in music from these three releases, and something I’d likely return to. - Frans De Waard
