"Oh, yes. The sweet, sweet sound of the cosmos, well beyond our understanding, in the far reaches of the universe, here lies the latest by Jay-Dea Lopez and his enigmatic Pulse. These ten short pieces, numbered I through X are coil pick up recordings captured last year on Canberra, Glen Innes & Main Arm. The cross between brisk waveforms and whitenoise is counterbalanced by Lopez’s cascading highs and lows. In the past year Hobart’s Hemisphäreの空虚j has truly found its acousmatic niche and re-delivered the goods back to its curated audience of deep listeners.
On IV the delicate ambient texture is abbreviated by miniscule rugged static that appears to be some form of degradation. This is when the lightest industrial tendencies start to show themselves. The microsound actions meets the plug-in point that flares in reverb and just glows just outside the contact. In some ways this seems to be referential of its action, of being just so close to having a transmission sent from point a to point b and somehow being intercepted. VI seems to be indicative of the title Pulse as it bounces with a sense of light and weight. There’s a sense of agitation, not emergency, of contemplation, as if the ‘out to lunch’ sign is posted in the shop window as the artist works out the finer points. The recording doesn’t come off as being unfinished, moreso, it invites the listener into the process by revealing directional vignettes that tease the concept.
On IX we return to a capsule-like setting with a mix of layers, tiny laser-like pulsations and beeps with an aerated high pitch drone that seems to be at 40K feet. The dichotomy makes this track not only it’s lengthiest but its focal point, and its placement as second to last makes it all the more intriguing to have remained on course to this point. It’s like a cosmic tattoo upon the skies. In the end he makes some noise and puts his sputtering tools away for now."
"Two new releases from a land down under and with the usual strong yet minimal visual approach. The first is by Jay Dea Lopez, who, so I believe, is also from Australia. He has a bunch of releases before but nevertheless, I know very little about him. Here he has ten relatively short pieces, from thirty-six seconds to seven minutes (but more likely to be between one and three minutes) of "coil pick up recordings", which he sourced in Canberra, Glen Innes and Main Arm. There is no mentioning of processing, but I can easily believe there has been some sort of post-recording work. The title here is, however, not the program of the release. These pieces don't deal with the nature of pulses; do not expect some highly electrically charged Pan Sonic beats. Instead, Lopez carefully adds effects to the recordings, splicing these up, looping them and the magnetic resonances are translated into finely crafted pieces of electroacoustic music. It is drone-like at times, a bit noisy at other some times, such as in 'IX', the longest piece and sometimes some of the electricity behind walls and sockets that are picked up with a coil (assuming Lopez does with coils what you are supposed to do with it) and stay as they are, buzzing and humming. Throughout this short album moves back and forth between the easier accessible sounds and more angular weirdcracks and that is a great thing."