Prurient - Arrowhead reviews
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| Pitchforkmedia |
 One of a half-dozen full-lengths to be released by New York noise artist Prurient this year, Arrowhead can be considered in either of two contexts depending upon your familiarity with the one-man-band's sizable discography or with noise music at large. If you're interested in Prurient, Arrowhead is a revealing transitional retrospective, intense but with precedent. If you're not, it's a shocking, singular piece of hair-raising noise. Either way, it's yet another essential piece in Prurient's metastasized catalog and one of the year's most obliterative and exhilarating releases.
Originally recorded in 2004, Arrowhead consists of three squelch-and-sustain tracks built by high-pitched microphone feedback, challenged only by spasms of drumming and the mutilated screams of Prurient mastermind Dominick Fernow. He infamously employed a similar approach-- a thin, powerful shriek of feedback that slowly warps and expands until it blooms into a boundless abyss-- on "Roman Shower", the brazen first track from his 2005 Load Records debut, Black Vase. Though exceptions abound, much of Fernow's recent output has been more "song"-oriented, meaning only that the settings have generally been shorter and less of a standstill (see the excellent Pleasure Ground or the second side of Adam Tied to a Stone)....full text |
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| Prefixmag |
| Ultimately, "noise music" is as tricky a genre tag as the much-debated "indie rock." Critics and fans use "noise" at least as broadly as "indie," and in some ways the generalization has an even greater leveling effect on the music it describes, considering that "noise" can be traced back to avant-garde classical music -- in particular the musique concrète developed by Pierre Schaeffer in the late '40s and '50s. Stretched to its limit, though, the term encompasses all music that focuses on texture to the exclusion of traditional music markers: harmony, rhythm and melody. An umbrella term like "noise," however, can only begin to point us in the direction that Prurient's Arrowhead takes its listeners....full text |
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| Dustedmagazine |
Most people’s reaction to the shrill feedback of a microphone would be to stop it. Prurient, a.k.a. Dominick Fernow, isn’t like most people. Instead, he has taken that startling sound, one we all instinctually recoil from, and built a lexicon out of it, a symbolic mirror of how the conscious shrinks from what the sub-conscious throws at it. Live and on record, Fernow gets to this threshold quickly and puts listeners in an uncomfortable position, pushing them to query the core of his music from the very first moment, forcing an answer to the question, “Do I want to continue to listen to this? If I do, why?”
Musically and symbolically, there is very little subtlety in what Fernow does. The titles are blunt metaphors outlining sudden violence: the Arrowhead of the album title piercing first the “Sternum,” then the “Ribcage” and finally, the “Lungs.” The first consists of a pure feedback tone, its relentless thrust broken only by a tumbling drum kit. On the second, the laser of feedback slices its way through howling, static-choked scuzz. Lost somewhere in the mix is the voice of a man. The visceral stomp of the final track compacts these ideas into a dense four minutes, the tempo accelerated, the feedback and static bound up into a potent bundle, the drums throbbing out a pulse. The contrast between this final blow and the rest of the album suggests some kind of transformation. But from what and into what aren’t clear. No more specific narrative suggests itself....full text |
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