R. Millis 120

R. Millis 120
This rather peculiar album of collage-like electronic pieces weaves together fragments of field recordings, samples and glistening drones to create a compelling and haunted assemblage of mystery and fragmentation. To these ears it rather welcomely recalls the earlier work of groups such as Hafler Trio, Nurse With Wound and Zoviet France, in terms of the mix of drones, abrupt shifts and unsettling smudges of voice. However, digital-era clarity permits Millis to use fidelity as a compositional device, juxtaposing eerily real recordings (notably, footfalls, cicadas, trains) with noise-caked bits of old 78s, and mention the crystalline chandeliers of drone. The generally quite, layered and active texture also distances him from his progenitors, and marks his work as completely contemporary despite the similarity of approach. Even though Millis isn't afraid to completely derail the trajectory of the piece with a swift change (take the pastoral guitars of track four, for instance!), the album has continuity, as the sustained tones serve to guide the listener from track to track. Millis is also a member of Climax Golden Twins, and a Sublime Frequencies conspirator, which offer hints as to his pedigree. (Etude)