Can’t say that I’ve ever heard of Kyle Parker before. Apparently he’s based in L.A. and started out purely as a noise-based artist (under the name Gator Surprise) before venturing into the synthesised ambience found on Carve out the face of My God.
Everything here is cheesy and synthetic, like soundtracks to European horror movies made in the 1970s and 80s. Think Oneohtrix Point Never but dirtier, more distorted and far less sci-fi.
For much of this disc, Parker is interested in pushing the synthesiser to emulate ‘real’ instruments. Take A Fool Persists, for example where he loops an arpeggio of false strings in a highly cinematic manner. Think of those melodramatic moments in cinema where spirits leave dead bodies and float off toward the light. Lived on it’s Knees (for Matt) and On Our own to Fall Off also trade in singular notes to achieve altered states, but for my money it’s the longer tracks such as Sunshine that peak my interest. Here Parker lets a distorted stab punctuate an undercurrent of synthetic debris and washes of static that for some reason remind me of Kevin Drumm, although this is no where near as harsh.
The title track and album closer is another standout, filled with sitar tones and siren-like calls from deep in the shadows. Parker is much more interesting when he’s pushing the boundaries of what the synthesiser is supposed to sound like.
That said, this isn’t a bad release, in fact I’ve been listening to it a lot and enjoying its soothing, spiritual tones. Whether or not Carve out the face of My God stays on high rotation at the House of Evol remains to be seen. But for now, this is a pleasant soundtrack to a dream-like world.