Debut CD by Derrick Spotts' Flysch project.
"Walk the fence of boredom and chaos, like hanging over a guard rail beside a mall food court while high on Coricidin, and know that you cannot make a single prediction of what you will encounter over the next hour and 4 minutes of anti-music from Derrick Spotts. A new era of high frequency abuse has come from the proverbial American basement, and, for the most part, it is easy to dismiss as a rehashing of noise or power electronics or industrial or so on that was done better, done with more terror, more guts, etc. This material from Spotts, now working primarily out of the Pacific Northwest, takes the anti-music and non-music schism and invents within it. The recurring theme of Concrete Horizon is simple: endurance. How much are you willing to take with no narrative? The locales, are they alien enough that you can observe them cinematically, or are they almost too familiar and broach anxiety? 30 Minutes on Flying is a prime example of endurance; the subject is loose, the tension is palpable, the subsonic tones and live-&-direct piercing screech place you centrally in the sound. Following quickly thereafter is Suite for Power Plant & Boiler Room which features longtime friend and collaborator V. Sinclair. The rattling bottles, the natural sound of materials dragged on cement, the particular and present sound of reverberation take the listener from the sound's center and places them on the other end of the action, far away from the source, alienating, pulling the story away just as you were gaining some traction. Each act on this album stands firmly on its own, weaving an uneven foundation that does not allow the listener to be still for a moment. This album is far from boredom, but it is anti-exciting. It is anthemic of 2020, a time of impatience, quarantine, the inability to move, sickness, and despair. Take the time to listen at a high volume, and when it's over you can turn it back on, or sit in the silence." – David Coccagna, 2020