Namanax is the project of multi-instrumentalist Bill Yurkiewicz, who operates
out of his studio in Pennsylvania. His mission is to produce loud noise through
the layering of multiple sources of sound.
Multi-Phase Electrodynamics (Release, 1993) and
Cascading Waves Of Electronic Turbulence (Release, 1996) were recorded
live and were notable mainly for their intensity, enough to make even
Gordon Mumma waver.
Yurkiewicz is joined by James Plotkin on
Audiotronic (Release, 1997), a work that increases the doses of
guitar experimentation but also toned down the violence. Plotkin helps create
textures rather than mere tsunami of noise.
Monstrous (Release, 1998), which is basically a continuation of
Audiotronic, contains four lengthy pieces inspired to the soundtracks
for monster movies.
Monstrous (15:02) should be titled "march of the monsters", as an
industrial rhythm is covered with abrasive noise. The piece is particularly
scary because is structured as a crescendo, leaving the impression of a
gigantic, ugly wave that is getting closer and closer.
The Larval Stage (17:09) is thick, frantic chirping of millions of tiny
rodents, an apocalyptic variation on the theme of
Pink Floyd's Small Furry Animals.
Noise is diluted and streamlined in the epic-length and cinematic
Journey to the Battle of Varanax (29:43), which borrows from
Klaus Schulze's cosmic frescoes to create a bleak form of ambient music,
one that maximizes tension through inaction, one that stretches minuscule
sonic events until they become catastrophes.
As the texture gets busier and busier, one gets the feeling of a documentary
of some prehistoric accident: cracks that rip apart the earth, avalanches
that corrode mountains, lava that erupts from mud. The scenes are filmed from
very far, so the noises are barely audible, but one can sense the extent of the
The most hair-rising track is actually the least spectacular:
Promethean Screams (9:58) is a sceeching drone wrapped in mild
dissonances, like the echo of a distant galaxy through a
Bill Yurkiewicz plays guitars, bass, samples and electronics;
James Plotkin plays guitars and sound effects;
Kipp Johnson plays synthesizer and samples.
Bill Yurkiewicz is also involved in a side-project with bassist Kipp Johnson,
Solarus and a little help from James Plotkin.
Empty Nature (Release, 1998) features seven pieces
for lazy basslines and sound effects, including
the eerie, ambient Messianic Slur 1 ,
and Malignant Soul Punisher 2 .
Crystallized (Release, 1998) contains four new compositions and three
remixes from the previous album.
The repetitive, minimalistic patterns over steady beat of Crystallized
are the exception to a rule that prescribes seismic, dub-like thuds as the
foundations of dark blues like Mute God or
abstract noise frescoes like Abject Manipulator.
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