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  IAN DOUGLAS-MOORE & PÄR THÖRN - STORY DESTROYER (CD by Firework Edition Records)
  
  There you go. I think I first properly encountered the name Pär Thörn last week, and this is the second time today I type his name (see also the Halster review elsewhere). I don't think I heard of US guitarist Ian Douglas-Moore before (and no doubt that will change next week). They have five pieces on their debut album, of which the first two were recorded live in Ausland, Berlin, already on November 21, 2014, and the other three composed between 2017 and 2019. Same as last week, I have not much idea of which instrument Thörn plays. Douglas-Moore's guitar is something I easily recognize here, wailing and droning away. My best guess is that Thörn plays some kind of modular synthesizer, electronics and is perhaps responsible for what seems to be field recordings. There is a bit of difference between the two live pieces and the three studio pieces. Live, it seems, they
  are more interested in some ongoing sounds, with some not-so-subtle high piercing tones and the guitar droning his part. The element of collage is however also part of this, as nothing stays too long in the same place, but in the studio pieces, this is worked out to finer detail. The guitar is now more abstract, and there is widespread use of samples and electronics. The field recordings are also at times clearer, just 'as is'. The somewhat brutal element of high piercing frequencies is not entirely gone, but now firmly embedded in whatever is also happening at the same time. It does not, however, mean that the duo softens their approach; far from it. This is, at times, as brutal as some music on the two live cuts. Some very interesting music indeed here and it made me curious to hear what the future will bring. (FdW)
  
  Idwal Fisher:
  845 Audio we are all familiar with here but first the [appropriately named at this time of year] Firework Edition Records. This being the label run by Kent Tankred and Leiff Elgren out of Sweden, a multi-disciplinary label that ‘moves freely between sound art, music, conceptual art and the visual arts’. Pär Thörn and Ian Douglas-Moore are also new to me but hopefully I will come across more of their work. The first two tracks are pretty good boiler plate electro-acoustic live work outs as captured six years ago in Berlin [noisy, scrabbling, plucked clockwork machines, strummed strings, tiny bells, droney, you get the drift] but where things start to get really interesting is on the newer collaborations where we stray into the corner of the room marked Industrial Ambience. I know I’m in danger of never being invited to Sweden on the back of this but when you start to mix reversed micro rhythms and short bursts of Ryoji Ikeda high hertz tones into a noisy crescendo, you have the all the ingredients at hand ... whats a man to do? ‘Describe How The Computer Has Been Used As A Tool For Warfare’ is the track title of the week and more of that Ikeda computer chatter stuck on a loop and a rare instance of a sound appearing within your hearing range that you initially assume to be outside of the sounds that you’re listening to. If you get my drift. In this instance the sound of someone repeatedly clicking a retractable pen, which I assumed to be Mrs Fisher but wasn’t. Add in some buried looped vocals and we’re heading to Müh Müh land. ‘The Urge To Sound Like A Car/Bird During A Rainy Afternoon’ has slowed down voices, the sounds of children and a slow descent in to silence. Were those fireworks I heard too? Please, no more.
  Www.idwalfisher.blogspot.com
  
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