Speedbooth is the current musical pseudonym of Kevin Cormack, an Orkney-via-London guitarist and experimenter who has played in groups including Jam Money and Half Cousin.
The music found on Speedbooth’s new self-titled album (released on Spillage Fete Records) clinks and clatters, almost like it has to fight its way through a particularly messy room in order to get from the instruments that are creating it to the tape onto which it’s recorded, bumping into chairs and knocking junk off of tables as it goes. Gorgeous strands of guitar, woodwind, and accordion melody are interrupted (or maybe enhanced) by buzzing strings, wooden thumps, and any number of plinks and patters. The effect is similar to the one created by German pianist Hauschka when he rigs his instrument up with bottle caps, ping pong balls, and aluminum candle holders. Consider Speedbooth’s song “Skatehorn.” It starts off like a Mogwai cut; a glittering guitar riff blooms upward before being joined by a hesitant drumbeat and a series of ghostly sighs. Soon, the track descends into dusty chaos, giving way to recorder noodling and an extended synth gurgle. Jittery, high-pitched notes, like the whistling of a kettle, fade in, and just like that, the guitar riff returns (along with some new whirrs and tremors, of course) and things rev up into a noisy climax before abruptly ending, just over two minutes into the proceedings. Both the song and album are utterly unique, and I’d recommend Speedbooth to anyone looking for something outside the box.
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