Nick Millevoi is a Philadelphia, Pennsylvania-based guitarist who utilizes bursts of distortion, feedback and unconventional tunings in his explorations of six-string deleterious noise. Millevoi’s latest album, In White Sky (released on the always fascinating Flenser Records), combines six- and 12-string guitar drones with glacial lurches, creaking clangs, ear-splitting screeches and shuddering jolts. Mastered by Colin Marston (Krallice, Dysrhythmia), In White Sky is a dissonant, nerve-tweaking banquet for lovers of bleak experientialism, and it’s rich with calamitous atmospheres, gloomy hollows, and structureless mayhem.
Dour, rusty drone seeps from the brooding “Slowly Dark”, and “Before a Constant” tumbles forth with a riff that could almost be the filthiest NWOBHM intro you’ve ever heard, albeit it one slathered in waves of feedback. The stark minimalism of “Super-Lith Part 1” bleeds into the piercing avant-noise torrent of “Super-Lith Part 2”, but the album’s true highlight is “Endless Unfolding Hallways”. This 14-minute song begins with reverberating, windswept drone à la Hex era Earth, before shifting into a sci-fi nightmare of atonal noise—screeds of corrosiveness surge atop cascades of feedback, till all returns to white-hot drone and strum. In White Sky is a cacophonous, jarring jaunt, but through its barbarism comes clarity. The album’s jagged textures and discomforting tonalities leave you shattered, reducing your field of concerns to the primal. Purge-like curatives of intense instrumentation such as this should be mandatory prescriptions to rid you of existential angst.
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// Sound Affects
"The man whose songs were recorded by Johnny Cash, Alan Jackson, Ricky Skaggs, David Allan Coe, The Highwaymen, and countless others succumbs to time’s cruel cue that the only token of permanence we have to offer are the effects of shared moments and memories.READ the article