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Bridle Wire. Damper String. 3"CDR (out of print)

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One monolithic drone piece built entirely from samples of pianos. Who the hell knows what is really going behind the music with this one. What we do know is that Thaniel Lee (who is Bridle Wire) is a talented visual artist from New Albany, IN. who has crafted a devastingly beautiful noise track. Like Glenn Branca dipped in a digital fire.

01. Damper String

|: cover by Laura Lee/Cataract Press

Reviews

Calling all noise aficionados. Bridle Wire’s (visual artist Thaniel Lee) 3-inch Damper String features a detonative nineteen-minute drone generated entirely from piano samples. Occasional traces of the instrument can be heard (though the rambunctious plinks and plunks suggest the sounds of pianos tumbling down stairs) but more often than not Lee mutates the material into hammering masses of droning shimmer, rumbling thrums, and bruised bellowings. Teeming noisily with the sounds of screeching splinters and squalling slabs, Damper String conjures the sound of tortured wails emanating from clandestine evisceration sessions.
Ron Schepper, Stylus Magazine, Rubber Room, January Volume 3

...[N]ew to me is Bridle Wire, aka Thaniel Lee, from New Albany, IN. His work was entirely constructed from using piano sounds samples. You surely heard that tune before, but Bridle Wire is a man who loves to layer his sounds ad infinitum. At various speeds these sounds drop in and out and maybe there is a moment when you hear just a few layers, overall it's a densely layered drone noise piece with classical references, especially related to the New York scene around Glenn Branca and Sonic Youth's side projects. Quite scary but nice indeed.
(FdW) Vital Weekly 458

Here we have one lengthy piece created entirely using samples of piano, which is definitely evident from some of the more intact sounds here. Many of the layers have been morphed into more experimental textures – sped up, slowed down, pitch-shifted, entirely mutated, etc. But there are certainly lots of tangible piano notes still resonating throughout portions of the composition. And, truth be told, I don't really care for that aspect of it. I like the idea that only samples of piano were used to create the piece, but the end result is often a little plain in its use of that concept, so I find the less recognizable moments to be stronger regardless of their literal quality. The track is fairly loud and bright, with a full sound and some rather aggressive textures building in at times, sort of varying back and forth in its use of layering and sense of frantic tension. Around 10 minutes in an eerie drone practically fades everything to silence before slowly coming right back in and becoming thicker and more abrasive for the bulk of its latter half (which, while more disjointed, is a little more interesting than most of the first chunk). The CD-R is packaged in a xeroxed cover within a small plastic sleeve, and there's not much to it. There are a few abstract images and that's about all there is. I'm not sure about this one. A few moments are quite strong and rather curious, but I kind of find the piece as a whole to be somewhat lacking and inconsistent. I don't dislike it, but I'm rather indifferent to it, so… it's not doing much for me.
Aversionline December 30, 2004