DunningWebsterUnderwood tries something completely different with Bleed

DunningWebsterUnderwood (not a typo, all one word) has a young career of one of those avant garde artists whose bulk of music largely incorporates stock sounds and noise mixes. His real name is Graham Dunning and he often tours around, mastering the turntable. Whether or not this is your cup of tea, his latest album, Bleed, has been gaining ground in sound sampling circles in the indie community. It’s experimental, it’s a relatively new concept, it’s Bleed by DunningWebsterUnderwood.

DunningWebsterUnderwoodRight from the first track, it sorts of sounds like a film from the ‘20s with the soundtrack overlaid with scratches. Or, for a more topical example, a pirated film shot with a camcorder held by a cameraman who won’t stop fidgeting. I get that it’s experimental, and I’ll give it credit for making a sound that I haven’t actually heard before. I can see this as a film soundtrack for a horror film since there’s a constant sense of unease.

This kind of music really isn’t meant for pleasant listening, it’s a lot of using practical tools (like what sounds like a pipe being blown into to mimic an elephant) to make music. But some of these tracks literally sound like nails on a chalkboard, like “grapefleckserpent”. However, I didn’t mind “lavaclutercore” and “dustbleedblip” – those ones were an interesting introduction to this pots-and-pans genre.

Take a walk on this wild side that this genre presents, and check out his album on his project page. Don’t miss out on his Facebook page and follow him on Twitter @grahamdunning.

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