Auxiliary Out on Max Nordile’s ‘Building A Better Void’ LP


re: https://auxiliaryout.blogspot.com/2020/11/november-2020.html

Max Nordile – Building a Better Void [Gilgongo]

Max Nordile has played in about every other band that has come out of Oakland in the past decade+, having his hand in bangers from Preening, Violence Creeps and Uzi Rash Group (and I’m sure many more that haven’t found their way to my ears). Building a Better Void, Nordile’s solo vinyl debut via Phoenix’s Gilgongo sheds the punk trappings of many of his projects falling somewhere between his oddball projects, The Blues and Nothing Band. There’s a bit of the lighthearted avant-garde experimentation of The Blues (which I find to be charming and rather excellent) as well as some of the Beefheartian aggravation of Nothing Band which I haven’t quite gotten a handle on, making Building a Better Void a totally weird and inward record.

Most of Void’s tracks could be categorized as songs, but just barely. “Deep Face”, “Site Traffic Prolonged” and “Wispy” remind me a bit of Maths Balance Volumes’s sloshed, obliterated take on “structured music”. “Site Traffic Prolonged” is my pick because it sounds like Nordile recorded his vocals inside a shed along with four people beating rugs. Somehow, Nordile finds a way to take those anti-rock vibes into far creepier territory than ever before. Speaking frankly, Nordile’s vocals give me the fuckin’ willies on most of these tracks; I can only assume they’re the cross-product of some unnatural processing and Max just being a naturally weird dude.

Forsaking any vestige of songcraft, “Dilligent Pores” charges forward into 100% pure musique concrète. The extended piece on the second side staggers forth pieced together via glue stick with a tick-tocking harmonic loop, murmuring field recordings, fumbling about with string instruments, fuzzy feedback, harmonica huff & puff and much, much more scrape and clang. The blemish on the record is “Milk Mtn”, a real low-grade no-fi art-rock patience tester that I’ve been annoyed by every time I’ve listened. But if you’re making records like these and you don’t alienate your listener at some point, you’re in the wrong business.

Fans of the fuzzy, warbling music-my-family-members-will-ask-me-to-turn-off genre ought to add this to their Xmas list pronto.

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