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The Shudder Of Velocity
Noisendo, 2014

A quotable text from Helen Scarsdale:

     "There's really no need to comment on the speed at which society moves for the conditions that lead up to post-modernity (or it is now post-post-modernity as yet another semantic addendum onto history's teleology?). We'll just say that things move pretty damn fast from time to time. The corrosion-centric artist Jim Haynes once again pays homage to the process of things coming undone; and here, the conceptual framework is loosely ascribed to the speed at which things begin to lose their structural integrity. The three long-form collages of phantom noise, shortwave errata, and sculpted friction are allegorically loaded compositions which might as well be addressing the metaphysical plight of subatomic particles crashing into each other, a foley-esque dramatization of ill-fated ceramic tiles crumbling upon re-entry with the earth's atmosphere, or just the plebeian breakdown of communication between you and me. Duncan, Jackman, Venrooy, Hecker (Tim that is, and certainly not Florian), and even a polite Menche would make for the tweetable comparisons to The Shudder Of Velocity. We chuckle at the cover to this one too, for it it so incongruous with the greylight abstraction and rusted mark-making emblematic of Haynes' visual tropes. The story goes that when Noisendo approached Haynes for what became The Shudder Of Velocity, Márcio / Noisendo sent some collages of Sasha Grey and Linda Lovelace with Krzysztof Penderecki and Henri Chopin. Haynes blurted a response that June Palmer might be a more suitable visage. Márcio ran with that idea; and here we have the cover. Make of it what you will."


    "The depth of perspective, but also the relative lack of precise orientation elicited by Jim Haynes’ soundscapes in The Shudder Of Velocity change almost visibly in each of the three pieces comprised by its 34 minutes. “Tear” juxtaposes close-ups of asymmetrical noise with surroundings defined by vast dimensions, implying – without certainties from the listener’s side – a hint of semi-harmonic drone (industry-derived, or perhaps just the stretched resonance of a bell, or…) and merciless winds beating inhospitable remote lands. The accumulation of stress grows in the final sections via reiterative metallic washes and piercing pitches, until an unpropitious crack in the ice of entrancement reminds us to never rely upon a false sense of security, telluric rumbles closing the track. “Scald” takes its origin from something like the corroded loop of a brass blast, turning itself into a classically ill-boding wordless consort, vacillating grieving encrusted with various types of debris, mysterious voices appearing from nowhere. “Stifle” could be regarded as an attempt to achieve some degree of beatitude through a layering of waves whose undulation instantly registers in the psyche. The transonic prospect might vaguely recall John Duncan’s Phantom Broadcast, but there’s no risk of not acknowledging Haynes’ hand in this awesome journey across frequencies that sound both heavenly and scathing. Images of emergency room neon lights inexplicably inhabit my mind at the moment and, indeed, one would really love to be welcomed by similar mermaids once the body has ceased to betray our best intentions." -- Massimo Ricci / Touching Extremes.