OMIT
“Tracer”

clinton williams admits that he has never been particularly keen in marketing the obsessive electronic constructions he’s produced under the moniker omit over the past two decades. williams once infamously quipped to nick cain that he should simply print a couple pages of zeros in lieu of the failing interview that cain was conducting for his own opprobrium magazine a little over a decade ago. while such actions may be confused with those of a curmudgeonly hermit, williams is concerned with his impeccable battery of synthetic sounds intent on psychological dislocation.

having released the bulk of his work in tiny self-published editions of lathe-cut singles and hand-dubbed cassettes, omit has enjoyed several high-profile releases thanks to the diligence of corpus hermeticum and anomalous records who both rescued some of omit’s finest work from terminal obscurity. the helen scarsdale agency is proud to announce the arrival of his latest recording tracer a double disc set.

as with all of his previous work, tracer is an antiquated behemoth, constructed from analogue synthesizers, primitive drum machines, homespun electronics, and numerous effects pedals. simple wooden rhythms trot, trudge, and even glide along taut metric grids hotwired with bursts of mechanical splutter and the occasional creak from pierre henry’s wooden door. an occasionally menacing, but more often melancholic orchestration of synthetic tones ripple, flex, and dissolve across the uniform structuralism, creating an ecstatic paranoia rarely heard with such splendor, rigor, and sublime blackness. if sonic references are required, then the klaus schulze masterpiece cyborg remains the closest analogy to what may be found in tracer.