Jack Chuter, Attn:Magazine
It’s a tidy premise: two 15-minute tracks, each recorded by one participant and mixed by the other. Of course, it’s impossible to know whose sensibilities are poking through at any given moment. Both sides are blown-out documentations of unsettled materials, with Jerman using percussion, metal objects and prepared turntables while Olive opts for magnetic pickups, metal objects and circuits. Yet the flavour of the over-blowing is different on each side; “Pancakes 1” has a distortion that fizzes particularly in the upper frequencies, latching onto whistling feedback, denting the stretches of clattering, cupboard-rummage attack. In contrast, “Pancakes 2” sounds like it’s writhing out of a small radio, with textural collisions squished into a hapless speaker that can’t physically accommodate them. Is the recordist or the mixer responsible for this buckled fidelity? Perhaps a blend of both? As the name suggests, Pancakes delights in this very ambiguity: the mangling of materials, of roles, of discernible sound sources into two congealed and ungainly pucks.
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