Franz de Waard, Vital Weekly #549 wrote:
- "And Daniel Menche is ready to conquer the world with his music. Like some people want releases on every CDR label in the world, it seems that Menche wants the same, but then on CDs. His recent production flow is the biggest ever, but he knows how to surprise us. Here the music is dedicated to beasts, rather than gods, like it was perhaps done in very, very ancient times (although we can't be certain, right?). Although separated into three tracks, this makes one continuous track and the beats (not the beasts) play the main role. It's difficult to say what kind of drums Menche is using, but certainly it's whatever without cymbals. Perhaps plastic canisters or oil drums which he uses to roll his beats over in an indeed tribal manner. Electronic treatment is there (the use of delay and a bit of reverb) but doesn't play the same role as before. It's a strikingly minimal affair on the surface of listening, but upon closer inspection, which is of course one should always do, things move and shift about like hell. Metallic rattle is somewhere coming in and out, beats shift about in a good Steve Reich like manner. But at the same time the name of Z'EV comes to mind also in his 80s percussive periods. This is a highly unlikely but great Menche release, and as such proving once more his great talent to take the listener by surprise."
Touching Extremes, wrote:
- Is it possible to achieve equanimity through agonizing trance? “Beast resonator” shows that it is. The formula is classic Menche, a frightening recipe of “percussion and concussion” which includes tribal drum patterns, something similar to handclapping amidst rattlesnakes, and - in this particular instance - treated voice (also by Menche) generating long “oms” that appear as a deviant mantra from hell at the end of the first movement (of three). What intimidates is usually avoided like the plague, but this man has by now established an impressive control on every aspect of his music, defining a style which took years to finally attract a well deserved wider audience (...indeed, many of today's worshippers around my geographic area, at that time probably intent in revisiting Spandau Ballet, were nowhere to be seen when "Incineration" and "Static burn" came out, but let's not spoil the party). This album could very well be considered as the second part of the recent “Jugularis” as far as rhythmic information and energy transmission are concerned. There is no virtual reality here, only blood-curling helplessness in front of a basic force that's able to shake both a body and the ground from which that body absorbs its vibration. One feels connected with the earth, part of a complex design through which our being achieves a fulfilment of sorts; meanwhile, our nerves are barraged with hit-and-no-miss punches of intersecting raw patterns which excite our sensitive organs, pushing them to the maximum limit in an apparently ceaseless sensual overload. But it finally stops - after about 72 minutes - and this beast's brain is still resonating the morning after. |
SEMTEX MAGAZINE wrote:
- During his 17 years spanning career Daniel Menche has successfully established himself as a sound sculptor. Not creatively inhibited by the constrictions of theoretical ideas or the mastery of classic instruments he has built an extensive discography that ranges from relentless noise to ambient incorporating organic drones and field recordings. Because of his attention for cohesiveness and structure in his pieces Daniel Menche distinguishes himself as one of the more important names in today’s American noise scene. Lately Menche explores the possibilities of percussion in his art. Beast Resonator is one massive piece of 70 minutes, divided into three untitled tracks. Menche constructs layers of different kinds of percussion, metallic clinks and mechanical buzzing and processes them with echo and delay effects. The way the textures and rhythms constantly evolve has something in common with the shifting patterns in Steve Reich’s Drumming. In the first track concussions develop into a polyrhythmic maelstrom of crackling discharges, reminding a bit of the spectral percussive works of Grisey, ending in a fierce finale backed up by a vocal drone. The two remaining tracks are more reserved. In the last one the combination of propulsive, tribal drumming with sonorous resonating noises is akin to the late Boredoms. Due to its changing structure, Daniel Menche succeeds in keeping this long piece interesting. Especially when played loud, the interplay between the diverse rhythms and layers has a surprising effect on the listener and makes his inner beast resonate, as intended. |
