|SCARCELIGHT RECORDINGS > releases > SLR04|
Accelera Deck. Ipsissima Vox. CD (out of print)
digital reissue edition available from - - - LATHELIGHT LTD - - -
Ipsissima Vox....translated "the very voice" is the first Accelera Deck full-length in over two years. The music is a sonic tapestry woven into flickering, contorted bursts of static and waves of caustic feedback. Within 15 songs, and over the course of 52 minutes Adeck mines the depths of beautiful noise that his previous albums have only hinted at. These sublime and intoxicating textures are freed from the constraints of rhythm, yet do not indulge in mere "exploration" of sound for its own sake. Rather the songs, and they are indeed songs, unfold revealing new layers and offering juxtapositions of noise/melody, structure/chaos, organic/synthetic. This album is culled from over ten years of home recordings, edited, compiled, re-edited and assembled into an unsettling, yet engaging document of blistering guitar damage, and fractured electronics.
|: cover by Cataract Press
released in association with;
+ TBTMO - www.tbtmo.com (N. America)
+ Skylab Operations - www.skylaboperations.com (Europe and Japan)
Accelera Deck pulls heartfelt guitar performances and luminous synthetic noises through a digital kaleidescope of varied intensities and
colors, creating a fearless exploration of frequency and nuance. With extreme attention to timing and detail, Ipsisima Vox finds an infinite
beauty in the patient deconstruction of each sound and resonance; electronically processed beyond concrete recognition, these sounds
take on a wondrous life of their own, and despite the digital effects and filters a surprisingly human feel has imprinted itself
Nuance and tattered echoes of noise, resonance, silence so expertly crafted; this is the essence in which Ipsissima Vox creates it's sense of wonder, and enthralls the listener with thousands of delicate and deliberate gestures. Even through the digital layers and synthetic watercolors, you can vividly imagine this work being performed in real-time, so human is it's feel and sentimental it's voice.
When the few, more recognizable guitar harmonies and fragments present themselves, you find them weathered and stumbling, day-dreaming, homeless . . . and you clutch to them, afraid to let those familiar moments of solace go . . . yet reveling in the effect even as they are absorbed in the digitized fabric of shimmering or quiet or staticky sound.
An acoustic guitar wanders hopelessly, pulled and torn through a colorful vortex of digital effects (Parallel). A high frequency cluster gently crescendoes through a shimmering and burbling tunnel, illuminating a silent film splintered by age and memory (Rare). A pristine synth murmur is gently colored with soft noise and pulsating stereo resonances, finally dissolving into fragmented abstraction (Gloss). Crackling, searing high frequency feedback tones spatter and pierce, shift and oscillate, with relief found only in a few moments of distorted radio static chatter (Ipsissima Vox).
Ipsissima Vox is chock full of poignant moments, as it scrapes and caresses and pushes against sensitive areas of the ear and mind in brilliant ways. An extraordinary and masterful work that continually inspires and captivates.
Static Signals 01.2004
Opening with 'Parallel' a robust exercise in collapsing electronica underpinning a persistent guitar refrain, 'Ipsissima Vox' signals its intentions clearly. His first release in two years, Chris Jeely "edits, compiles, re-edits and assembles" ten years of recordings to create a collage of fractured
melodies. A sonic tapestry that weaves precise guitar fragments and discrete refrains within
a blanket of razor-sharp splinters and electronic noise, 'Ipsissima Vox' probes and develops Jeely's passion for 'damaged audio'.
Throughout a series of gestures - the equivalent of an audio sketchbook - Jeely consistently delivers innovations. 'J-Stereo' a
painstakingly built series of
microrhythms which, .microsound tendencies notwithstanding, recall the sublime moments of Photek's precision electronics. 'Fireflies'
an opaque guitar refrain masking a multi-layered pinpoint patina.
Occasionally the storm of electronics subsides to reveal calmer moments and welcome lulls: 'Gloss' - a three minute oasis of calm; and
'Landslide Blues' - a series of teased apart slide guitar phrases that close this release perfectly, mirroring its robust beginnings.
This is Chris Jeely who hides behind the Accelera Deck, an American who has
gained rich experience considering his other projects, too Your Favorite
Horse, or September Plateau. "Ipsissima Vox" , which translates as "the
very voice", is a package of excerpts from his works from summer 1993 to
spring 2003. It suggests that we deal with a kind of ‘sum-up' record, but
this opinion might be seen as somewhat misleading. In general, you listen to
it without any discomfort so typical of jubilee records because the contents
of Ipsissima Vox are concise, without severe diversities in styles and
tonality. Should we presume then that Chris Jeely did not experience any
turning points in his musical career? I guess he did, but the selection of
his works for the record makes the gap between one period and another almost
unnoticeable. The beginning is calm enough (generally "Ipsissima Vox" has a
calm character) a guitar twanging a la John Fahey, or Jim O'Rourke with
the accompaniment of actively changing electronics. The second track is
probably the richest in sound textures of all, where things change like in a
melting-pot from one extreme to another. As the record progresses, it
reflects the main trend of Accelera Deck works (when comparing the
proportions of ‘quiet' works of the recording to other kinds) to calm and
dark areas, a whole palette of micronoises, waves of sounds, barely audible
hums, glitches, ambient landscape, it's enough to say that noise elements
are generated even with a help of minimalist means (would you believe Morr
Music used to have Accelera Deck in their roster?). Sometimes, we happen to
find familiar guitar improvisation, but mere single islands they are. All in
all, it's a record worth your attention, with attractive mood and many audio
details for discovery. Good!!!
Accelera deck returns with is second release in as many weeks, (reviewer is considering the UK release
date) this time heading towards involving guitar synthesis and electronic variations a la
Fennesz. Heartfelt guitar performances and luminous
synthetic noises are fed through a digital kaleidescope of varied intensities and colors, creating a
fearless exploration of frequency and nuance. With extreme attention to timing and detail,
Ipsisima Vox finds beauty in the patient deconstruction of each sound and resonance;
electronically processed beyond concrete recognition. Lovely.
Chris Jeely's long-running solo project centers around various abuses/treatments of his guitar, plus source sounds that run the gamut of
feedback, loops and digital manipulations. Culled from a decade worth of home recording, these recycled bits are occasionally, but not
often, pretty -- and neither would you be if you were subjected to scalpel, stitched together, sliced up and super-glued together again
for a third, fourth or fifth time. It's this simultaneous disregard and worship of structure that gives Ipsissima Vox its vital thrust.
Jeely starts his fourth or (maybe?) fifth proper album with a plaintive little ditty wrought of five strummed notes peeking through a
liquid morass of feedback and DSP. "Parallel" is breathtakingly gorgeous, initially conjuring the fragmented folk of Four Tet and later
segueing into Fennesz-style harmonic ambience. At this point, it's appropriate to mention "Landslide Blues", which ends the album with a
pensive whimper. It's a nice utilization of looped guitar processing, but most notable because it, along with the opener, bookends another
thirteen somewhat difficult tracks.
After hearing this album fans of Accelera Deck will definitely add this release to their list of favorites. After hearing it only twice
it made my top ten list even though I have heard thousands of good releases this year and it wasn't untill late November that I heard
On 'Ipsissima Vox' ("the very voice"), Accelera Deck (chris jeely) uses guitar, feedback, loops, and treatments to create fifteen tracks
recorded between 1993 to 2003. while the guitar is jeely's primary source, it's transformed so radically throughout that conceivably
other instruments might be present too, so alien are the sounds he generates. a full lexicon of sonic vocabulary is on display with
smears, scrapes, and splintering shards inhabiting the pieces, jeely fearlessly tearing the material apart and re-assembling it into
compelling fragments that pierce, flicker, combust, and drone.
raw electronic storms of high-pitched frequencies and abrasive feedback are leavened by fleeting oases of gentle calm. he conjures
bucolic moods that recall greg davis's music on some tracks although jeely goes much further in deconstructing the source material
into malleable fragments. a good illustration is the wistful opener 'parallel' whose glistening acoustic guitar shimmer is processed
at times beyond recognition, with melancholy traces of untainted guitar surfacing through the static. elsewhere fennesz's style is
evoked, by the machine-like grinding on 'rare,' for instance. even though jeely restlessly explores a full spectrum of electronic
sound, the tracks group together to some degree. 'parallel' and 'reckoning' show their acoustic song-oriented origins most clearly,
although both are overhauled by processing treatments.
Emotionally engaging tracks of treated guitar, acoustic, loops and daydream-evoking environmentals. Accelera Deck can sooth and
gradually become difficult, cutting up the pretty melody into distorted chunks. Somewhere in there it evens out, the melody and
light wins but the spector of oddity looms. Like FINAL if Justin were to use a heavy FX hand on all his pieces. But there are
fifteen tracks here so without sundering the galaxy completely, the same world never stays for long, it changes...Ipsissima Vox
wanders but isn't necessarily lost. I'm reminded of why I like things like Loren Mazzacane Conors and Crawl Unit, and can picture a
hybrid of the two when Accelera Deck cut loose. The strange worlds, the multiple levels of sound, the dramatic charge of acoustic
enviroments affected out of character. Fantastic material for any guitar-ambient listener.
Parallel, the opening track on Ipsissima Vox by Accelera Deck, aka Chris Jeely, sounds like your mate
tuning up his acoustic guitar whilst flicking through the effects programs. The album continues with
well-controlled feedback, industrial drones and malfunctioning windscreen wipers, the guitar as input
device occasionally discernable beneath the soup of a fractious, sometimes chaotic and digitally
clipped mix. A headphone listen is recommended, though you’d be advised not to turn up the volume
in the quiet bits, lest your eardrums be cut to ribbons later. There are less obtrusive tracks,
which wander into ambient territory, and others to rival the sound of fingernails running down a
blackboard during an alien invasion, which will have your amp handling frequencies rarely,
encountered. The massive wash of ‘Ghost Photography’ pulses with a rare rhythmical suggestion,
the album ending with a hint at Jeely’s native Alabama in the squelch and slide guitar of
‘Landslide Blues’. For an album written over a period of 10 years, this has great cohesion -
possibly due to the fact that it was produced and mastered in a much shorter time, with heavy
reliance on one rather effective bit of software.
Ipsissima Vox is No. 1 for March 2004 on free103point9