According to Discogs, sound artist Carl Kruger is “influenced by micro and macro sound.” At first glance that doesn’t seem to say much at all about Kruger’s music; after all, don’t all artists deal with sound somewhere on the spectrum between “micro” and “macro”? But that’s not exactly the case. Speicher (which means “storage” in German) and much of the rest of Kruger’s staggering discography thrives off the contrast of small and large sounds, translating the forceful clunks, clatters, and bangs of junk and other trivial materials into kinetic, hyperactive orchestras. “For My Nephew, Jordan” is a raucous tornado of heavily processed found sound, mercilessly twisted and sculpted into a variety of formations; the restless din of small objects, field recordings, and other oddities first takes the form of an overwhelming assault of abstract physicality, evolves into a reticent repose of detached glitches, and finally coagulates into a rumbling mudslide of noise. Speicher is only a C20, and before you know it things have moved on to “Outing,” a much more meditative piece that bases itself around a quiet environmental recording, concealing nocturnal murmurs within its lush mass of textures. Speicher is another amazing release from Kruger and from Tunnel Secret.
Noise Not Music 