REVIEW: Ginger Leigh - "10 Stories 10 Lies"

By Matt Borghi

Chain Border

10 Stories 10 LiesAfter perusing Ginger's Web site and all of the reviews that she's gotten I can't help but feel like I'm missing something. I really enjoy the collaging and textural work of this release, but the low quality, almost broken tattered vinyl sound of the recording leaves me scratching my head. This recording sounds like it was made in 1930. It's flat, poorly Eqed - if EQed at all - and seems to have had a heavy reliance on Sonic Foundry's Acid.

Nevertheless, though, there are some truly creative moments in this recording. I just wished that Ginger had taken the time to clean up the recording and make it a little more accessible and listenable before she put it out there. If you're curious to know what this recording sounds like, imagine Land of Rape and Honey-era Ministry recorded on a four-track with tattered, fourth generation overdubbed Maxell tapes that were picked up on a budget at the local Wal-Mart.

But... once you get past the unlistenability of the recording, it's an excellent recording. What the hell is this guy talking about, you might ask? Well in a time when anybody can get audiophile quality recordings out of their PC or Mac it's a little hard on the ears when I hear something that's this abrupt, but at the same time the Throbbing Gristle-like coarseness is organic and draws me in.

The musical ideas that make up this recording are undeniably good. In fact they sort of remind me of my own work. When I set out to record I'm so interested in the process that I just throw the stuff on my HD, or to tape and call it good. After years, though, of being bagged on for my lo-fi work, I have to say that I take the time now to put together a strong recording. This recording is strong, particularly in musical idea and concept. I would venture to say that Ginger is going to have an awesome discography in time. These ideas seem like the sketch book, as compared to the masterpiece that Ginger hasn't manifested in hard copy form yet. I'll say, though, when she does finish that work that is probably mixed, mastered, and EQed, I look forward to it as I'm sure that it will be a most fantastic recording and one that will certainly be worthy of all the press and support that it will get.

What does it sound like? I hear traces of Big Black, Muslimgauze and a sort of garage-band version of Dead Can Dance. This recording is loop-based, yet not minimalistic, and quite ornamental. Much of the material that makes up this work is of a middle-eastern orientation, yet there are a lot of experimental aspects to this recording. There are a lot of deep drones, resonated electronic sweeps that seem to swell beyond the periphery of 0db, digital, thus creating distortion and an interesting effect, intentional or not. All and all this is a fine work, but truly an indication of the excellent work that is still yet to come.

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