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Decomposure Album Press Release
Posted by Steve Juon at Wednesday, November 26th, 2008 at 2:20PM :: Email this article :: Print this article



From Fanatic Promotion:

A compilation of hundreds of recordings (vocals, textures, instruments, etc.) stitched together to form an album (it’s a bit more complicated than that, but as a basic premise), Decomposure’s most recent work, Humidity Patient Guide on Blank Squirrel Records is the result of 40 micro-songs crammed into 50 diverse (folk, rap, noise, electronic, pop, ambient, spoken word, industrial, chants, field recording) minutes. The album is available for free download. There is an option to donate via Paypal or Credit Card if you like the album. Includes a 25 page booklet of album art.

For the FULL Story of Humidity Patient Guide, click HERE.

FULL ALBUM DOWNLOAD HERE + 25-PAGE BOOKLET HERE.

WEBSITES: DECOMPOSURE | DECOMPOSURE MYSPACE | BLANK SQUIRREL RECORDS
* http://www.decomposure.com/ *
* http://www.myspace.com/erusopmoced *
* http://www.blanksquirrel.com/ *

Urb Magazine - Next 1000:

The album features the graphic-artist-by-day's slightly sugary blend of electronic-pop that channels a little bit of The Postal Service, but in no way mimics them, or anyone we've heard recently. Decomposure is definitely a delight, and no doubt will be making its-slash-his mark on the scene soon.

Popmatters:

Vertical Lines A absolutely fulfills the promise of At Home and Unaffected, and then some. Not only does it deserve a spot in the list of last year's best albums, it might have made a run at the top, given the right circumstances...It's hard to explain exactly what makes Vertical Lines A such an incredible album, except to say that the combination of elements that Mueller has put in here works. When a Beatles-esque, melodic stanza gives way to an Anticon-inspired set of ludicrous speed spoken-word, which then gives way to a literal chorus of Muellers in a hypermelodic feat of multitracked a cappella, you expect it to crash and burn under its own weight, especially when the whole process happens twice over the course of the song. And yet it doesn't crash and burn. Rather, it soars, pummeling the listener with cool idea after cool idea, fitting them together with taut threads that never seem to snap...It's an album that represents unchecked ambition, one man striving to live up to his influences and the organized noise in his head. It's the type of music that constantly makes you smile as you hear what the artist was trying for alongside what he accomplished. Vertical Lines A deserves all of the accolades that could possibly be thrown at it.

Amplifier Magazine:

Imagine Eno on steroids. Or Barry Bonds in a recording studio. This wacky yet ingenious collection from organic noise whiz-kid Caleb Mueller (aka Decomposure) is a listenable collection of engaging songs manufactured from sounds most folks would consider annoying: crackling paper, moving typewriters, static electricity, kitchen utensils, clacking wood, clanging metal, and bodily functions coupled with an occasional acoustic guitar or piano. Mueller's introspective art-rock identity (a la Beck, Bright Eyes or the Velvet Underground) emerges intact despite the continuous onslaught of poly-rhythmic mumbo-jumbo.

Treble:

So, with string untied, present opened and music pouring out of the speakers, Vertical Lines A only furthers its uniqueness with a sound that defies any easy categorization, or rather any categorization at all. Decomposure, better known as Caleb Mueller, has both an emotive, expressive tenor and a high speed nigh rap delivery, backed by dense electronic soundscapes that are one part glitch to one part shoegazer. Needless to say, finding a contemporary to this sound proves difficult, though if you can imagine Anticon and The Postal Service crossing paths, you're on the right track. The tracks themselves, titled 'Hour 1' through 'Hour 11' (in order, mind you), jump around a bit themselves, from the Brian Eno gone hip-hop 'Hour 2,' to the slightly emo 'Hour 3' to the sci-fi poetry of 'Hour 4.' And there's merely one more new surprise with the changing of each track, showing the varied aspects of Mueller's musical identity, and invigorating the senses with new layers of electro-funk, distorted IDM and gentle ambient waves. It occurs to me, listening to 'Hour 5,' that Mueller is like the IDM Justin Timberlake. He's got soul and can definitely groove, but in ways that evade commercial viability and with the utmost of artistic innovation. With the unwrapping of this elaborate package, the listener truly is given a musical gift, one that rewards and surprises repeatedly and consistently. Now, getting that string to tie back around the thing is another story...best to keep this one open.

Stylus Magazine:

Mueller’s music is a mess of noises that are not supposed to work together but somehow make funky, mechanical sense. He’s at his best when he walks around his apartment and clangs random objects, while crooning in a spit-shined tenor. Pots, pans, books dropped on chairs, telephones, and other random objects around his apartment are clanged, recorded and then digitally stitched together into a brilliant symphony. His math crunching rhythms that skitter and nearly fall off the tracks are much akin to the tomfuckery of Venetian Snares, Akufen, and most notably Hrvatski’s abuse of his household in his sadly underrated 7", Raume.



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