Posset, the teenage virus two - review

and it feels like dropping back to specific moments in the past.

But don’t get me wrong. It feels present. Alive. There’s an energy to this set of tracks.

Crunch. Remember that. Dictaphone action.

Insistent utterances rendered incoherent over time or with the sense drained out.

Posset, The Teenage Virus Two. There’s a good bite to this CD. The sounds. A physicality
to them.

Ambiance and crunch. Buzz. Memories of music and speech. Acting like memories.
Repeating, rewriting.

I don’t know about anyone else, but this is a time machine for me. Back as a child
listening to my parents’ blues records. Years later in a friend’s room discovering new
music. Exchanging tapes by mail. Running around Bradford. In clubs in Cardiff. Jumping
in fountains, jumping off walls, trailing home early morning. Memory chopped and
distorted.

It’s over too quick.

Whooshes and swirls. Clicks. Ever present noise. Distortions.

Just yesterday. A rhythmic <Khff khff khff khff> - the hood of my coat on my hair.

When I first started recording a lot. Particularly when I started using a directional mic I
noticed how heavily we filter what we hear. What a mic picks up is not the same as what
you pick up.

Distortions. Sounds we filter out. Sounds and imitations of sounds.

<Khrr>

Speedplay. Grunts. I mean is this some Alvin Lucier shit?

Which reminds me of something I got wrong back at Tectonics. In my review of Genevieve

Murphy’s Calm in an Agitated World I said she used a long wire to generate some sounds.
In fact she was using tape and presumably a tape player.

There’s an energy to this set of tracks, music, and it feels like dropping

Good and crunchy. A great bite to it. Animal sounds. The world outside.

Alive.