RELEASED
JULY 2008

This disc is an adventurous journey back to a previous era of electronic musical thought, and this is a good thing. That being said, it provides some unexpected turns, some unpredictable and large gestures, with a variety of whimsical, electronic storytelling art.

As his bio denotes, Harrington has worked in the record industry for years, where he quote "amassed a sizable collection of electonic(sp) and avante-garde(sp) recordings before going on tour."

Fans of Tod Dockstader may rejoice early on, as track # 2 "KL" is right up that alley. A surprising selection for a second track on an album, this piece deserves its rightful place in the electroacoustic concert hall , perhaps on the same musical happening as a Zappa or early pastiche tape piece. Track #3, "Arps" is another inside job that starts abruptly but finds its rightful place in the listener's ear somewhat early on.

Track #5 is my choice pick. "Blast" is something of a schizophrenic unveiling of the artists inner mind. My vote, should the composer be reading this, is that this should have been track one. A bold comment but nevertheless one that is sincere, it's nice use of timbre- and while not easily ingested, Harrington is quite comfy doing his thing. He is very much at ease in his own skin. I would love to hear more of this type of material as in this writers opinion, it is his compositional wheelhouse.

Track #6 is my 2nd favorite, (perhaps eclipsing my initial response) as the most timbrally complex of the album. Never to be underestimated, Harrington does a nice job of ramping up to the closing track as as 'Wisp o' the Will' demands that the listener take a seat for the finale. "noise noise'", the closing & title track, sneaks up - casting the listener down into the best seat of the house. Then the composer turns on the spotlights...Twice. Harrington delivers his final message in the form of a sonic onslaught but thanks to the lead in, it comes as a necessary relief. This album is not for the average listener or newcomer, which is what draws me to it. While not definitive or groundbreaking, music lovers of outer perimeter listening will rejoice. --mv

Chain D.L.K.

RELEASED
JUNE 2007

William C. Harrington: soprano sax, guitar, sitar guitar, Kawai K4, E-MU Audity 2000, Classic Keys, Radial, Roland CA-30, CM-32L, GarageBand, voice and loops

Jilli Dart (spacekitti) guitar, loops, FXs (tracks 4, 8, 13)
Rune Freeman (Warm Climate) bass (track 13)
Seth Kasselman (Warm Climate) guitar (track 13)
Chuck Leslie (Several Mouthparts) cymbals (track 13)
Lee Secard baritone sax (track 13)
Tom Steck (I Heart Lung) drums (track 13)
Andy Sykora drums and percussion (track 13)

Composed and recorded between April 2006 and April 2007 at the WCH Electronic Music Lab, except Rockitt II which was recorded live at Dangerous Curve on 11/19/06 and Il Corral 12/08/06

Mastered by Scott Fraser at Architecture, Los Angeles, CA
Photo: William C. Harrington
© 2007 William C. Harrington, BMI | UrbanElectronicMusic.com

... and now to William C. Harrington’s sub-sonic shuffle “The Long Descent,” on his latest release “Nuclear Menace.” You have to love Harrington’s cracked sense of humor (the single word “BOOM” faces those who open the jewel case) and personal vision– like Harrington’s prior disc “Urban Electronic Music,” “Nuclear Menace” is a jarring hodge-podge of sounds– evocative, overwhelming, disturbing, peaceful. I will cheat– you should just hear this one to see why.

I almost forgot– don’t neglect to notice Rune Freeman and Seth Kasselman’s (of Warm Climate, duh) contribution to the disc, on “Rockitt II”. Huge craziness, I will leave it at that. ...

DaveX
http://startlingmoniker.wordpress.com/

Hi William,

Thanks for the new one. This may be your best and strongest work yet. I totally enjoyed the entire thing this afternoon. Great production and playing! Radio play coming asap.

Thanks again,
Don

No Pigeonholes
KKUP
hosted by Don Campau
www.doncampau.com

"UEM Live" Reviewed 2007-02-07
- Your Imaginary Friend, KZSU Stanford University

Kick ass experimental analog loops, drones and collage for fans of Eno, NON, Reich, Cage, electronic music (by its traditional definition), even tribal King Crimson. Recorded live, this is really one long track split into many tracks with distinct flavors and themes. Well done. My picks:
2, 7, 8.

1) chorus of feedback, tasteful and somehow melodic

2) a nice drone, a crunchy tape loop, and echo'ed trumpet cant go wrong

3) clarinet and other horns become more apparent, tape loops and noise grow bold

4) flute and racket, still looping hypnotically

5) mechanical somehow, robotic voice buried at times

6) briefer, like a computer on a space station

7) a lovely drone starts this and evolves nicely, staying chill and narcotic until end where moog tones appear

8) an eastern tabla flavor to this, cool

9) a little more electronic but incorporates some treated guitar

10) developing a definite rhythm, tribal but not trite, still on a foundation of excellent drony noise

11) beat continues, less rhythmic, cool looping guitar Frippish guitar work

12) brief, dominated by feedback and a square wave

13) guitar feedback symphony again, like in intro reminds me of tones The Residents used a lot in their early days ("on any other street"), midway loops like crashing and falling appear, at end theres some backward voice sample

14) classic Tomita'esque analog synth sequence, trippy and composed, pretty actually
Players: William C Harrington (electronics, sax) Jilli Dart (guitar, guitar/sitar, effects)

Jilli's Intro and Syd from "UEM Live"

Harsh, electric guitar walls of sound. Magnified side-product noise becomes a partially demolished sound mass, excessive and yet teeming with microscopic changes within constant, deafening envelopes. Occasionally, the simple outlook gives way to complex overlays that express their statements in an equally forceful manner.

modisti.com