Alex Durlax — Seconds

“For the space of a hundred seconds there was silence, such as might have existed before the birth of sound.” So begins the excerpted passage from Algernon Blackwood’s “ A Haunted Island” printed on the B-side of Alex Durlak’s single-sided 12” EP for Komino Records. But just the guitar that Durlak processes beyond all recognition—I’m sorry, but “granular technique!” is becoming the new “classically trained!”—I can’t find the connection between the text and the music cut into the opposite side.

But that’s not to say “Seconds” isn’t enjoyable, despite its conceptual shortcomings. In fact, Durlak hits a middle ground of noise that I really appreciate; landing somewhere between knob-garden wall noise offerings that bludgeon my ears into mash, and the too-precious EAI crinkles and crackles that demurely elude no matter how much I turn up the volume. No, Durlak’s “Seconds” is the noise listener’s equivalent of a four-door luxury sedan, comfortable and well-appointed, with some power under the hood that’s there when you need it. It’s a humorous comparison, but I mean it well—“Seconds” is a quality release. Durlak seems to know his instrument’s capabilities, as well as whatever he employs to jumble it into static and hums, sirens and forked pitch stabs. At about twenty minutes long, Durlak works long enough to thoroughly explore these sounds’ capabilities, which he eventually breaks down into their constituent parts more nakedly near the piece’s conclusion.

Happily, “Seconds” works well across multiple listens, offering a chance for engaged listeners to get their money’s worth out of this release