Tom Waits once said that his favourite part about hearing an orchestra play is the part where everyone is making dissonant sounds while warming up. Ravetank’s “Echoes from Feedback Mountain” is an example of a similar philosophy with tight songwriting being subjected to a treatment of powerful noise.
Ravetank sounds like someone who believes in letting the elements dictate what they wish from you. The opening track on “Echoes from Feedback Mountain” merges dreamlike projections with the sound of aeroplanes going off and feedback from live instruments. That’s a good summation of what is to follow.
Certainly not a humourless folkie, Ravetank’s “Wabbit” is a lo-fi grunge stomp complete with the kind of distorted feedback that might make Melvins cower in fear.
Next, “Villa 838” is the closest thing to her, resembling a pop song, but it’s mixed on this live album to sound like someone taping a Pixies rehearsal on their phone. Meanwhile, the jingle-jangle of “White Heron Dance” explodes into walls of feedback noise.
Ravetank has the heart of a poet first. But he’s certainly also weighing his options as a comedian. Most of the album is a provocation involving gigantic levels of sonic distortion that few would consider for inclusion on an album. Ravetank likes it that way, and it’s hard not to see the charm of it.
And while Ravetank plays it all with a straight face, look no further than titles such as “Mid Life Crisis Paul McCartney,” “I Have Left My Other Body in Outer Space,” or “Ted the Radical Westie” for evidence of the songwriter’s taste for absurdist comedy.
“Echoes from Feedback Mountain” is not an easy listen; even though buried behind the feedback noise, there are beautiful pop arrangements trapped. Ravetank has all the qualities required to acquire cult hero status. This is not music that’s easy to live with, which means that many will love it.
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