You wouldn’t be wrong either, mainly due to the fact that English is a self confessed “avid field recorder”. This album literally bursts with sounds, the likes of which you have probably never heard before. Everything from washing machines to splattered honey, and even probably the kitchen sink (and various mutations thereof) are thrown into the mix of this aural cacophony. The main strength this album has is not just it's reveling in pure experimentation and the love for sound, but actually in how catchy these sounds are when pieced together. The icing on the cake has to be the top notch production which gives an amazing amount of clarity to most of the elements in the mix.
“Say Amen at the Worst of Times” manages to create quite an infectious rhythm from what simply seems like a splattering of manipulated sounds – intricate in detail, yet without losing sight of the audience – stunning. “Jerald Montgomery the Third of Beliz” is another particularly strong track – very industrial, yet warm, also and held together by incredibly jittery breaks. Some of the two-minute-tracks around the centre of the album, although interesting enough, could maybe have been cut to streamline the album into a shorter, and all the more sleeker sitting though.
Comparisons could easily be made to the established names inhabiting a similar spectrum to English, but I am going to avoid this completely, as I genuinely feel that it would detract from what this particular artist is trying to do. English seems to be thoroughly enjoying the whole modern music creation through the realm of electronics, and long may he do so. This album isn’t just clever; it’s inspiring and couldn’t have come from any other time than now – if there is any justice at all will help set him firmly on the road to a long lifetime of musical discovery.