There's noise that steadies itself in between electroacoustic, drone and neoclassical. Then there's noise that doesn't teeter on anything (for instance, HNW or Harsh Noise Wall) and that swipes open your throat with jagged spheroids. Southern California-based Pedestrian Deposit does the balancing act and the onslaught equally well, all while giving accessibility to left-field music freaks and non-noiseheads. In 2008, Jonathan Borges's longtime solo project expanded to a duo, thanks to the addition of Shannon A. Kennedy. More often than not, Kennedy's bowed cello — sometimes reminiscent of a choir of singing ghosts — bolsters the bottomless musique concrète sound collages that incorporate "dense urban-noir field recordings." One of the most interesting examinations of the relatively new team effort can be found on Kithless (released this year on Arbor), a two-tune effort showcasing music that's compositional, improvisatory, and both possible and impossible to pin down.
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