BJNilsen – Focus Intensity Power LP Moving Furniture Records 2018
Tape Dekay – Decadimento Del Nastro – Decadenza Di Tutto CD Old Captain/Narcolepsia 2019
From his first dark ambient project Morthound which had releases on Cold Meat Industry during the early 1990s, BJNilsen moved over to the Hazard moniker in the late 1990s, and from around 2004 onwards opted to record under his own name. Generally speaking, over the last 15 years BJ’s approach has been characterized by an experimental approach to sonically processing various natural and urban-based field recordings. However with Focus Intensity Power being the solo new album, it marks a decided shift away from the use of field recordings as it is a purely studio-based album, which according to the promo notes provides: ‘documents of improvised sessions using modular synthesizers, tone generators and test and measurement instruments’. Sonically this album has greater alignment with early Hazard albums than recent solo output and is certainly welcomed from these quarters. The 15-minute album opener Beam Finder is an elongated exploration of minimalist unceasing mid to lower range bass tones, coupled with micro-tonal static and machine idling drones which appear late in the track. This approach continues with The Sound Of Two Hands, although this is slightly more forceful and varied with the introduction of a ‘ticking clock’ element and other minimalist scattered electronics. The relatively short Flattened Space embodies a muted sub-orchestral tone blended with mechanical menace, while Table of Hours fits cleanly within a dark ambient drone frame of reference. The final of the five tracks, The Limits of Function, starts slow but gradually elevates with layered machine drones, and the second half of the track is driven forwards by a central rhythmic loop. In essence Focus Intensity Power is an effective celebration of sustained tonal atmospheres, which amounts to evocative sounds in their purest form. Sublime.
Moving on to the review of Tape Dekay, this is not a new project but a quite obscure side project of BJNilsen. In fact, before this debut CD only two tracks were previously issued from the project on two separate compilation releases dating from 1999 and 2008. Given that in recent decades BJ has mostly worked under his own name with manipulated field recordings/electroacoustic material, for Tape Dekay the sleeves have been rolled up to tackle the more direct fields of noise. But as might be expected with someone with such refined experimental compositional skills, these have been employed here to generate a clean and loud production. While ‘noise’ is the name of the game, it is also not ‘harsh noise’ by any stretch; this is more of an exercise in experimental noise and an exploration in tone and sonic construction technique. Although select passages build to a certain noise heft, including crumbling bass, static rumble, and slashes of sound, the album is also not harsh by typical measures. Other tracks employ a vague structure of off-kilter factory rhythms, driven forwards with weighty machine-like drones and monolithic industrial loops. With melodic elements being entirely absent (except for what sounds like processed male choirs in one track), the employed tone and the separation of sonic elements function to maintain detailed interest throughout. Likewise, given the level of meticulous construction which has been employed within compositions, there is a real sense of sonic complexity spanning the seven tracks.
Both of these albums from BJ Nilsen are certainly different in approach and equally enjoyable in their own right and chosen musical spheres. But from a purely personal position, Focus Intensity Power is the album which I have kept returning to over many months.