Mouths/Haptic
1V2E/Danjon Scale
12" (E37)

Mouths is a project by Jon Mueller and Jim Schoenecker using percussion,
analogue synthesizer, shortwave radio, and human voice. Their focus is on
combining elements to create a chorus of sorts, culminating in all ‘mouths’
emitting their voices together without negating one another. This version of
1V2E, recorded live in concert in Milwaukee in 2005, features the addition
of Werner Moebius on computer and devices.

Chicago-based Haptic is Steven Hess, Joseph Mills, and Adam Sonderberg.
For Danjon Scale, their second published composition, the emphasis was
on constructing a larded unfurling of sonorous information.


See also
Haptic
Mixes


Edition of 200 copies (out of print)


Reviews

Mouths… I hear hypertensive rumbles, halfway through an overcharged
heartbeat pumping in the auricular membranes and a mountain of pitch-
transposed electric razors working at the very same moment, while
Dampened echoes of pneumatic drills come from the outside. The voices
from the radio creep under this mass of distorted radiation, the essence
of a rhythm revealing its incessant breath as more and more convulsive,
until the overwhelming power of the percussive sources becomes the
dominant rule in an Organum-meets-tornado bellowing paranoia.
Haptic conceived a combination of materials, featuring a commanding
mixture of looping sub-basses and metallic caress, slowly evolving into
an isolationist riverside from which one can observe dispersed detritus
floating over dark currents. The sonic maze remains impregnable all
over the piece, hoards of bowed metals and cymbals determining the
ruin of the commonplace in harmonic design, which is replaced by
a riveting wash of resonance that’s threatening but also peerlessly
reinvigorating.

Massimo Ricci at Touching Extremes

[The] trio’s piece Danjon Scale, on a split 12-inch with the Milwaukee duo
Mouths released by the British label Entr’acte, is among the most striking
displays of sustained texture in recent memory. The sound they create
together is hypnotic and seamless.

Peter Margasak in the Chicago Reader

Two slices of prime Industrial-flavoured drone and drift. The dark,
resonant undertow of Haptic’s Danjon Scale is reminiscent of the brooding
horror-gamelan of 23 Skidoo’s The Culling Is Coming. The group adopt
a more forbidding tone here. Mouths produce on 1V2E a dense, grimy
dirge from shortwave, synth and (it says here) voice. Mouths’ mission
is to create a chorus in which vocal and machine elements coalesce.
While it’s a good piece, I think it’s fair to say that the machines won.

Keith Moliné in The Wire

It’s not all snails and dewdrops in the vinyl world, though. If you’ve been
following developments on the British Entr'acte label you’ll know that
Their releases come in austere vacuum-sealed packaging with precious little
information. That’s true of the CDs anyway: the vinyl that recently came
my way is somewhat more forthcoming: it’s a split LP featuring two North
American EAI outfits, Mouths (Jon Mueller and Jim Schoenecker on
percussion, analogue synth, shortwaves and vocals, joined on this track,
1V2E by Werner Moebius) and Haptic (Steven Hess, Joseph Mills and Adam
Sonderberg). The latter’s Danjon Scale was assembled and mixed by Sonderberg from studio and live recordings made last year, but you’re a better listener than I am if you can see the join, as Eric Morecambe used to say. Both pieces are class stuff, prime rib dark, rich drone music, and the warm fuzz of vinyl once more adds to the effect.

Dan Warburton at Paris Transatlantic

Now, if Tarantino and Rodriguez were really cool, they’d have used
the music from this split LP for their split flick, Grindhouse. But no,
this marvelous set is relegated to a 200 copy printing, to languish in
obscurity until someone hits on it in 2036. In the meantime, however,
any of you folk out there with a turntable should latch onto it pronto;
it’s a fine, fine record. 1V2E is 15 or so minutes of intense, deep
flutter, burrowing dronage and waylaid radio folded into one helluva
piece. It’s an accretive work, simple enough in structure in that layers
emerge (sometimes added, sometimes just hoving into the foreground),
levels of detail multiply and volume increases. It’s unfailingly
interesting and gripping, the initial propeller-like thrum grabbing a
hold somewhere in your bowels and twisting. There’s a bunch of percussion
hidden back there as well, both scrapings and thuds, that adds a crucial,
grainy seasoning to the affair. Beautiful ending as well, in a small
flurry of quiet clicks and a rhythmic squeak.
  Haptic’s Danjon Scale equally engaging, maybe a little subtler — [a] quarter
hour of roiling undertow, seemingly derived from metal (cymbals, gongs)
and electronics. The promo humourously describes it as “a larded unfurling
of sonorous information”. Larded, eh? Well, it certainly has heft, but I
detect no particular greasiness. The thing broods, though, sits there and
ruminates, slowly uncoiling and re-clenching, maybe getting a little pissed
off. Though it gradually becomes massive, the payoff, for this listener,
is the final couple of minutes where the central drone dissipates and
you’re left with only the ashes and echoes, a wonderfully chilly sense
of desolation.

Brian Olewnick at Bagatellen