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ben miller/degeneration creates a sonic tapestry that defies standard guitar playing. Miller produces a dense multiphonic soundscape by outputting several pickups through separate FX chains. With the addition of SK1 8-bit sampling, Radio, analog Synth and Tapes, it is difficult to discern where any one sound originates or where it is heading. Tonights concert will be Quadraphonic.”If new expressionists closed their eyes and painted what they saw then Ben Miller must be taping shut his ears and playing what he hears; blood thrashing through arteries, nerves popping, synapses burning,.. Formerly a part of the ‘anti-rock band’ Destroy All Monsters, Miller takes the ‘anti’ idea a step further.”_ Melissa Giannini, Detroit Metro Times 2001.
Miller has produced live multiphonic sound design for Anne Carson, toured with The Glenn Branca Ensemble, and currently collaborates with Franck Vigroux in the duo Transistor. Miller’s Sensorium Saxophone Orchestra just released his arrangements of Tomorrow Never Knows and Strawberry Fields with Marianne Nowottny singing.
Jason Soliday is an electronic musician. Member of Cleav’d Cleaver, Ratatosk, Magic Missile, I <3 Presets, xTAL fSCK, mora, and various ad-hoc ensembles to numerous to mention.
“The real beauty of this music lies in the detail. Far from being a flat-out noise fest, Nonagon Knives brims with texture showcases Soliday’s ability to coax more than just random noise from his chosen instrument. ‘An Obsession With Aerodynamics’, for example, hums with feedback beneath the surface racket, lending it an unsettling feeling of depth. Imagine waving your hand around in a dark hole you know harbours snakes and waiting for the bite – that’s the kind of effect the best of Soliday’s work can have on you, and it’s often as though it’s been wired directly into your spine. Soliday retains superlative control too; nothing runs him and nothing sounds superfluous. The undoubted highlight here is the quarter-hour ‘The Comfort of Outer Forms’, which uses its extended playing time to run the whole gamut of sonic shades. From burping frog croaks to zipping space cars and some disarmingly cute chirrups, the track eventually blends the lot in a rapidly rotating neutron star of noise that flings out ever fiercer tendrils. They themselves construct miniatures, all of which hiss around the perimeters and some of which even have the faintest hint of melody. This is the kind of minutiae that will reveal itself upon repeated listens (it goes straight back around whenever I play it), and what marks Soliday out as being a truly exceptional noise artist.” – Steve Dewherst, Foxy Digitalis