Last updated: 3 days ago
An exploration of sound combining tape, field recordings, hazy distortion, blurry soundscapes or semi-rhythmic undertones. The intent is present yet not always clear. Brandon O’Neill records various instrumentation using methods from paired analog and digital manipulation.
“Memory Wound’s April release, Lillian Drip, is by turns peaceful and haunting, beautiful and elusive. Where many of the album’s tracks drift by in a dissociative haze, eddying outward like faint ripples on a pond, O’Neill takes a noisier route on “Lead Moon,” submerging gurgling synth lines in a bath of Kevin Shields-ian guitar fuzz before deconstructing the piece down to an icy, plinking skeleton of its former self. Perfect for fans of billowy, distorted loop-mongers like Tim Hecker, Fennesz, and Windy & Carl, it simultaneously lulls and jars you.”
-bored in pittsburgh
“Memory Wound’s April release, Lillian Drip, is by turns peaceful and haunting, beautiful and elusive. Where many of the album’s tracks drift by in a dissociative haze, eddying outward like faint ripples on a pond, O’Neill takes a noisier route on “Lead Moon,” submerging gurgling synth lines in a bath of Kevin Shields-ian guitar fuzz before deconstructing the piece down to an icy, plinking skeleton of its former self. Perfect for fans of billowy, distorted loop-mongers like Tim Hecker, Fennesz, and Windy & Carl, it simultaneously lulls and jars you.”
-bored in pittsburgh
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