There is definitely an argument that the "wall of sound" metaphor has been razed to the ground as a musical description. However, I can think of no other "wall" as absolute and genuine as that crafted by these four compositions. Each track examines sound from a textural and nonlinear perspective, as opposed to the more traditional mediums of melody, repetition and unimproved songwriting. Krieger applies mathematics to John Cage's "Four5", as he smoothly layers soprano, alto, tenor and baritone saxophones five times each, for a total of 20 tracks. A throbbing, pulsating mass of sound results, which fluctuates slightly due to the minute differences in intonation of each saxophone. Equally as trance-inducing is the Phil Niblock piece, "Didjeridoos and Don'ts". Tape loops and didgeridoo meld into a wave of sound that gradually occupies the surrounding space, yet does not become an overpowering intruder. The didgeridoo's wavering is like a snake charmer's flute, as the 15 minute piece hypnotizes all ears present (whether they're consciously attentive or not). Krieger's point? Droning sounds may not have a defined linearity, but they beg the question, are continuous, slightly fluctuating sounds considered music? "Walls of Sound" seems to suggest that indeed, continuity can be just as melodic as traditionally structured songs.
Ulrich Krieger Walls of Sound OO Discs (CD)
			Review by Andrew Magilow

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