Musique Machine / Multi-Genre Music Magazine

Despite the years old claims that physical media is dead, not only are older albums being re-released physically, but they're hitting fans on even older formats. Pita's Get Out is like Benjamin Button, originally released in 1999, getting a 12-track CD edition in 2008 (also from eMego), and now getting all of these 12 tracks released on vinyl for the first time (with an added live track to sweeten the deal). Widely regarded as an important work that moved experimental electronics in a new direction, Pita (Peter Rehberg) takes noisy, sparse electronics and melds them with melodies, adding new dimension to the pieces, and showing that noise can be more inclusive and musical than the aberrant onslaught that got many fans into the genre years prior.

For those introduced to experimental electronics by the harsh Japanese noise scene, Pita will seem very tame in comparison, but still carries all the freedom, experimentation, and sonic revelry as its harsh and chaotic comrades. Generally high pitched and crispy, the distorted tones squelched through the speakers fill the listener with discomfort and an uneasy listening experience, one that follows no discernable pattern, making the noise all the more delightfully disturbing. This has Get Out starting off with a "like it or not" approach with "1," before settling in a bit with "2." Shorter and less abrasive, "2" still utilizes the high pitched harshness, but plays it over a darker, more textured background, resulting in a mixed set of sounds like if you were to bash your head while cave diving. "3" is where Pita really gets to flex its muscles, with the eleven plus minute track using a composed sample that has noise layered on top, with some of its own pieces succumbing to this crispy virus, brutalizing the whole piece. Not too far from pieces by Tourette, Noiseman433, or even Merzbow, this delightful epic is the longest on the album and a great way to round off the first side. Side B opens with "CE3," which shifts quite a bit from the previous tracks, focusing on softness and warble, letting the fluctuations carry the listener forth like being trapped in a soap bubble on a summer day. Followed by a quick and shocking juxtaposition, "4" is an interlude that blips and bloops like a frenzied, robotic day dream. These sounds have a spiritual continuation on "5," but in a subaquatic state, bubbling like the "CE3," but totally submerged. Turning up the chaos, "6" finishes the second side of LP1 with its frantic tones that feel like strings on fire. Higher pitches scramble to and fro with washes of noise, keeping this one unpredictable and intriguing. When starting the second LP, don't let "7" trick you into thinking your headphone jack is off, as that is the sort of sound coming forth on this short introduction piece. "8" is another shorty, somewhat noisy, but following a pattern. Not sure why, but made me feel like it was related to DEVO's "Working In A Coalmine." Windswept and cold, "9" is long and dark like a winter night. Randomness comes back forward with "PE2," which has some sounds looped under some almost bit reduced sounding noise, like a malfunctioning Atari cartridge. "TR1" shifts the gears to wrap the third side of Get Out, returning to the high pitch but showcasing more of a glitchy, computer background. The last side on the album is for a live track from Pita's tour supporting the original release. Recorded in Detroit (7/20/2000), this excellent time capsule allows the audience to witness, so to speak, Pita in its glory, playing fun and frantic experimental electronics for a live audience. A wonderful testament to Get Out, this final live track will be considered by many to be the highlight of the album.