Rick Reed
The Way Things Go

Elevator Bath 2LP

Available through the Helen Scarsdale Agency: $24.00

     "Utilizing analog synthesizers, sine waves, shortwave radio, and sampled field recordings, Rick Reed's landscape is dense with overlays, but each sound emerges naturally and seems tied - sometimes tautly, sometimes loosely - to proximal others. The waves that unfold in the opening "Mesmerism" are deep and somewhat akin to the vibrational frequencies of biofeedback, but they aren't too deep; one still experiences them objectively, as things apart from indeterminate sensual pulses. They have inflection and personality that are derived naturally from Reed's own experiences - a sense of character and uniqueness. "Capitalism: Child Labor" is an early high-water mark, merging analog buzz and whir with the glassine textures of vibraphones or tubular bells, which stem either from samples or from the Moog. Of course, the source itself is slightly beside the point; suffice it to say that the analog nature of the material encourages an emergent understanding of the humanity and keen orchestration that Reed's sculpting brings. Composed as a soundtrack to the 2005 Ken Jacobs film of the same name, the piece feels as though it could be performed by an ensemble, albeit a very unified one. Harsh electronic blasts and obscured voices provide bookends to areas of waves, refractions, and gooey pulses of rockish fuzz. It's imaginable that "Capitalism: Child Labor" could fit into a crisper slice of Krautrock ambience not too far from Ash Ra Tempel, while also being distinctively contemporary. Knob-twisting and crotchety flashes gradually merge and fall away to leave an area of near-singularity, coursing hums revealing stringy subtones and colliding layers before an abrupt conclusion.
     Opening the second LP, turbine-like rumble, light tendrils of feedback, and organ-esque fluff that would make Gerd Zacher proud characterize "Hidden Voices Part One," with the occasional passing blip among splayed-out tones a clue to their newer electric origin. The closing title composition pits glittery wash against layers of modulated feedback, a nattering growl at the heels of thin, gradated whines. Massive chords are their eventual replacement, monolithic and coarse and a sound that one could run one's fingers over. A sudden shift brings out staggered chunks of thick and striated tones before the piece returns to its original stage, closing with a lengthy and gorgeous coda of bells, kalimba-like plucks, and clavichord bounce (or at least samples that give these instrumental impressions). It's a fitting and full concluding piece, both in breadth and in title.
      The Way Things Go is a self-effacing acknowledgement of process and its undeniable humanness. There are few electronic artists who go beyond the "organic" aspects of the field and into something so personal, folksy, and magnificent as Rick Reed does. Having seen him perform in a live setting, it can be a challenge to realize the level of intimacy - surprisingly - that is on offer with this particular recording. What differentiates The Way Things Go from some of its brethren is the sense of warmth and personality that imbues its masses of analog and digital electronics. Reed is not overpowering or bullish, nor is his work quaint, but it's enough to know there is a person behind the sound meditating on loss and experience, bringing electronic music up through the ground." -- Tiny Mixed Tapes