Acoustic noise is something with which I don’t have much experience, but I do know that when he’s not building walls, Vomir artist Roro Perrot is busy performing his blend of acoustic anti-folk with strummed guitar and, apparently, incredibly gargled vocal stylings. Rotkappchen has been featured on this site before, and, like always, the sound of this project has morphed for Acoustic Armaggedon. And Superror I confess I don’t know anything about besides the 20-minute piece I heard on this three-way split; however, it seems like that project falls somewhere closer within acoustic drone range than what both Roro Perrot and Rotkappchen offer.
I also must admit that I don’t really think this style of noise – in that it’s not really noisy at all, but the opposite spectrum of comfortably-strummed-but-irritatingly-improvised-guitar – is really my thing. That’s not to say that what these artists do is not good; it’s neither good nor bad and purposefully so, and that I think tells you all you need to know about the sub-genre. In a way, it reminds me of the shitnoise and shitcore styles of harsh noise and grindcore respectively – these projects are almost intentionally designed to play the worst spectrum of what one would expect in the sub-genres.
Roro Perrot’s quick 8 minute “Acoustamerdaa” finds him quickly noodling around his guitar in clearly improvised meanderings, all the while gurgling in an unsettlingly deep way without any real inclination of enunciation, sort of like Cookie Monster with his teeth knocked in. There are subtle bursts of harmonica, but really this is Perrot with his guitar, un-wall-like but still very repetitive. It’s also legitimately difficult to listen to.
Rotkappchen gives us four “Soloworks,” each of them attempting to glean different sounds from an acoustic guitar. It sounds like he’s torturing the poor instrument, picking apart the strings one at a time as a masochist might tease the fingernails from a hand. Again, like Perrot’s work, “Soloworks” is a trying listen where Rotkappchen runs the gauntlet of sounds elicited from an innocent guitar.
Finally, Superror ends things with the 20-minute piece “Spontane Klänge,” something that’s more akin to music than the rest of Acoustic Armageddon. That’s not to say that the track isn’t difficult; though it’s structured more traditionally, Superror trades off with various background sounds and elongated, repetitive drones of guitar sound – in layman’s terms, it’s got rhythm but will grate on anyone attempting to listen for pure musical merit alone.
Who knows? Maybe what I’ve described for these tracks is exactly the artist intention. I, unfortunately, probably won’t return to this album much, but I can see certain individuals in the noise sphere enjoying the shitty tones of a rapidly strummed and detuned guitar, bobbing their heads to awkward harmonica trills.