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noise noise cover

noise noise


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.


Nuclear Menace

Nuclear Menace


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. ...


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,

No Pigeonholes
hosted by Don Campau



UEM CD Cover

Urban Electronic Music



Equipment used: Arp 2600, Kawai K4, E-mu Classic Keys, Roland VK-7, CA-30, CM-32L, soprano sax, electric guitar, bowed electric guitar, glass salad bowls, communion bells, cell phone, army bugle, Max/MSP, Radial, GarageBand, vocalizations and loops

Composed, realized, produced and engineered by
William C. Harrington

All pieces recorded between 4/05 and 8/05 at the WCH Electronic Music Lab, except Enola Gay which was recorded in 1973 at Cal State Domiguez Hills Electronic Music Lab

Mastered by Scott Fraser at Architecture, Los Angeles, CA
Photos: William C. Harrington | Graphic Arts: Justin Cassidy
© 2006 William C. Harrington, BMI | UrbanElectronicMusic.com




The artist uses a wide range of tools to create this sonic reality. Of course there's the ROLAND and ARP but also we get soprano sax, electric guitars, glass salad bowls, bells, a bugle, vocalizations, and more.
To me the album is beyond electronic--it is experimental, avant-garde, and artsy in places. Harrington explores various themes, sounds, moods, and does some strange musical combinations. Oh sure some of this stuff has been done before but WH brings his own style and approach to the project. Those that like electronic, experimental, and more might want to give this a listen. Interesting listening.

Copyright 2006 A. Canales - The Critical Review

Exactly as I expected from this fine work from William C. Harrington. Not that it was predictable, it was not, but because I enjoyed Bill's performance at Electro Music 2006 and knew about his electronic music composing styles. I had to purchase his latest release!

U.E.M. is a nice mix of electronic sound, sampled/treated glass bowls, cell phones, and many other suprises! A expert weave of electronic sound and samples.

Well done Bill ....

Rating: [5 of 5 Stars!]


This CD is beyond brilliant...words fail to express the level of genius present on this album. It is a rich, gorgeously textured, dynamic experience.


...The Harrington CD is brilliant. Highly entertaining yet uncompromisingly experimental. Never boring or pretentious either. Very, very well done. Airplay coming assuredly.....

No Pigeonholes
Cupertino California

I’m not what you’d call a “big-city” person. So when the Angry Vegan Records release “Urban Electronic Music” by William C. Harrington arrived, you’ll have to understand that the title didn’t conjure a whole lot of positive images for me. In my limited experience, “urban” is too many people, too little privacy, not enough green– all the best excuses to live somewhere less intense. “Urban” is somewhere I’d visit, but wouldn’t want to stay.

If Harrington’s intent is to capture this feeling, I think he does it well. Don’t get me wrong, I’m enjoying the album quite a bit. It’s a fascinating trip to take! Like any good-sized city, Harrington has populated his album with a diverse set of voices– Arp 2600, E-mu Classic, and VK-7 keys clamor for attention alongside bowed guitar, cell phones, loops, saxophone, salad bowls, and a host of other unlikely objects. Within many tracks, like “I Slept Through Vespers” or “Cuckoo to You,” distinct sound events play a lesser role; with more of a blended, futuristic, electroacoustic feel. However, some tracks, like “One for Nick,” sound dated– I had some similar synth percussion presets on my old Casio– but isn’t part of the “urban” experience the contrast and layering of old and new? Would a city like St. Louis or Chicago (or Memphis!) retain any of its flavor if it stayed “updated” all the time? Oddly enough; one track on the album, “Enola Gay,” really is dated– 1973, to be precise– but fits so well you won’t suspect a thing.

“Remnants” seems to best reflect this layering, with Harrington providing a real hubbub of activity. This track best reflects the vibrant “aliveness” present in a city like New York, where the pattern and activity of the city itself seems to take on a life of its own. For a one-man album (composed, realized, produced, and engineered by Harrington) it’s a marvelous accomplishment.

UEM @ the Steve Allen Theater

UEM 8/20/09


Live at Nova

UEM Live at Nova Express


"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.



Title: UEM Live
Format: CD
Label: self-released
Rated: 3.5 stars

"...this 14 track live recording of UEM's performance at Nova Express, in LA, in Sept 2006 with special guest Jilli Dart of spacekitti features Harrington on soprano sax and electronics and Jilli on guitar, sitar and effects and travels the corridors of improvised experimental/electronic, spacing from drones to noise, occasionally pointing in the direction of more rhythmically-defined patterns and flirting with some weird free-form of obscure guitar-impregnated idm. Keep an eye on UEM as I feel they'll have more in store for us pretty soon".
- Marc Urselli-Schaerer, Chain D.L.K.

"The recording is wonderful! I hope to hear from UEM again soon."
- DaveX WDBX, 91.1 FM Southern Illinois, It's too Damn Early

DaveX aired "UEM Live" in it's entirety 10.21.06 on
WDBX 91.1 FM Southern Illinois, It's Too Damn Early, a weekly experimental show

"Heard the whole CD this afternoon and totally enjoyed it. Nice choice of edits and the mix of sounds is wonderful. Airplay coming."
- Don Campau KKUP, 91.5 San Francisco Bay Area, No Pigeonholes

"The CD is fantastic!"
- Lisette Sutherland, Lighthouse Promotions