- When I spoke with Guy Brewer last year, he repeatedly emphasized that his strengths lay in texture and not melody. His focus on the physicality of sound is the thread that ties his projects together—droning techno as Shifted, depressive electronica as Covered In Sand, or Alexander Lewis, which he calls "straight-up noise." Alexander Lewis appeared as an uncredited project on Blackest Ever Black with 2013's A Luminous Veil, an engaging record that gently mapped a spectrum of noise music, from harsh to soothing. One Hundred Acres, released on the Total Black cassette label, is a simpler affair, with two long-form compositions on either side of a tape.
One Hundred Acres is probably the least accessible thing Brewer has put his name to. The first side is like watching a fire: there's something oddly compelling about the oppressive heat it gives off, especially once you're in the thick of the high-frequency assault during the final minutes. If you can stomach that, you're rewarded with the calmer flipside, made of hollowed-out tones that drone with an unnerving consistency, so you can't tell if you're imagining the shifts or if they're actually happening. One Hundred Acres is strictly for the diehards, but fans of Brewer's textured approach to pitch-black electronics will find much to love.