Music Against Music is a new Recyclone record. It is not new Recyclone music. It is a collection of previously unreleased noise experiments.
I created these experiments in the late 1990s. I was extremely frustrated with the state of hip hop in Halifax. The true innovators had left town. All that was left was party rap. It felt like no one was being true to their art, that they were more concerned with creating a false façade. I reacted by setting out to destroy music and create absolute noise.
For my first experiment, I took a NOFX record and scratched it. I don’t mean DJ-style scratching. I mean I took a machine file and some sandpaper and physically damaged the LP. I kept filing and sanding new crosshatched grooves into it until the record looked unplayable. When I put it on my turntable, it played (much to my amazement). It sounded like white noise radio static coming from a dead channel. Perfect.
By taking my frustration out on an innocent record, I discovered something new for me to explore. I started to experiment with other records to see what would happen if I sanded off the grooves completely. Then I tried cutting records—I literally cut different records with a knife and then used duct tape to put different pieces together to create a new, playable record.
After destroying records to create new ones, I started to experiment with sound. I wanted to see if I could create a sound that would destroy itself. Using my four-track cassette recorder, I recorded one of my broken records on one track and then ran the sound out of the four-track through a series of guitar pedals and a stereo equalizer. Then I ran it back into the four-track. The end result sounded like a stereo speaker that had caught on fire. Perfect.
I brought these noise experiments to the stage as part of the Dead Tone Collective, a yearlong series of monthly experimental music nights at the Khyber Club in Halifax. With hours of experimentation and all of the recordings of my practice sessions for Dead Tone Collective shows, I realized that I had enough songs on hand to make an album. I spliced tracks together and added samples to some of the songs to make a cohesive album. Which then sat in a box and moved around with me for many years—until now.
Art is subjective and open to interpretation. The music on this album is a documentary of what I was feeling at a certain time in my life. It isn’t pretty. I wanted the songs to show how disturbed I was. I believe that this album captures that time and those feelings of mine.
released February 18, 2013
Jon Hutt: vocals, pedal manipulation, feedback loops, editing, arrangement, samples, record cutting, recording