Brandon O’Neill’s Memory Wound project produces blurry soundscapes created from tape loops, field recordings, found sounds, and more.
Memory Wound’s April release, Lillian Drip, is by turns peaceful and haunting, beautiful and elusive. Where many of the album’s tracks drift by in a dissociative haze, eddying outward like faint ripples on a pond, O’Neill takes a noisier route on “Lead Moon,” submerging gurgling synth lines in a bath of Kevin Shields-ian guitar fuzz before deconstructing the piece down to an icy, plinking skeleton of its former self. Perfect for fans of billowy, distorted loop-mongers like Tim Hecker, Fennesz, and Windy & Carl, it simultaneously lulls and jars you.
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