A possible candidate for an upcoming feature of some sort here at DECAYKE, Jar Moff captured my attention a few days back when I listened to Commercial Mouth released by Pan. Pan is also the label responsible for unleashing the outstanding work of Rene Hell’s Vanilla Call Option, which garnered some well-deserved praise here back around xmas.
Jar Moff’s is collage work, but it isn’t collage in the sense that we’ve grown so accustomed to hearing the form lately, i.e. the “smash and grab” anarchic-at-heart work of culture-jammers, but rather seems to me to be more impressionistic and all-encompassing, macro and micro, personal and remote. These compositions somehow belie their outward density due to being so well-constructed, revealing carefully sculpted and arranged sonic artifacts that not only represent multiple objective, subjective and interstitial meanings via the sound juxtaposition and well-conceived recontextualization, but in fact form a new auropsychogeographical experience, with site specific locations in sonic spaceways (often aided with hints of traditional melody, sci-fi camp, jazz quotations and 20th C. classical influences), which is a difficult feat to achieve considering the jammed, crammed and crowded material Moff opts to employ. Maybe God does roll dice. Maybe IT has a strong intuition about snake eyes looking right at you. Jar also works in the visual medium, so the fact that there’s a tangibly convincing crossover that hovers above mere success isn’t surprising. At all. Be sure to check out his TUMBLR. As always, check with Fusetron Sound to see if they have any in stock.