A striated, ever-shifting mesh of loosely collated sound.

I have a review of the latest album from French noise-experimental guitarist and composer Richard Pinhas up today at Blurt.

Desolation Row
Richard Pinhas
Cuneiform

BY JENNIFER KELLY

Richard Pinhas has been a provocateur since the 1960s, building shifting, shivering, monuments of noise with treated guitars, synthesizers, drums and a collection of like-minded souls. First with Heldon, later as a solo artist, more recently as a collaborator with Merzbow and Pascal Comelade, Pinhas has layered guitar texture on guitar texture in vast oceanic swells of sound. Movement in his pieces seems to rise up from the depths, pulsing through iridescent sprays and squalls like some elaborately muscled, violent beast. For Desolation Row, Pinhas’ 16th solo record, the artist is flanked by noise experimenters Oren Ambarchi, Lasse Marhaug, Etienne Jaumet and Nowl Akchote, who bend guitar and pedal sounds into massive, free-form shapes. Drummer Erick Borelva keeps these extended feedback and overtone symphonies in motion, pummeling rainbow shimmering auras into kraut-y propulsion.

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It's not on the record I reviewed, but here he is with Merzbow.