Nice Music is thrilled to present a new full length release from Melbourne/Naarm's Horse MacGyver, aka Timothy Dwyer. His second release for the label and his first ever as a vinyl LP, following years of tantalising and temperamental nuggets which only hinted at what this kind of statement could look like. Melted synth patterns blast over kaossed rhythms and crumpled up sample work to manifest as his brightest and most accessible work to date. Some radical methodologies on construction and dissemination reach their apex on End Effector’s rollercoaster of high impact sonic hysteria, scalpel-precise editing and inspired hardware sequencing.
The trademark playful charm and dadaism we've come to expect from HM squeezes this voyage of ceaseless fidgeting and bashed up rhythms into an at times, quite feral fever dream. End Effector is every bit as manic and anxious as we'd expect, spelunking about depths well beyond thickened crusts of mental exhaustion to report on whatever the fuck is sploshing around inside Dwyer's brain pan at this point in his career. He may easily claim a place as one of the most idiosyncratic legends in underground Australian electronic music over the last 10+ years, so it’s befitting that esteemed noise figurehead Lucas Abela (Justice Yeldham) should impressively join to contribute on the final track.
Strangely, a painting adorns the cover of the LP, provided by visual artist Trevelyan Clay (Bum Creek). Clay's incongruously sombre thatching of chaos and collision throws End Effector at us from an angle we aren't expecting, maybe tricking us into opening wide for whatever's about to come through the vortex, before we realise that's an axe on the bottom left. This earnestly accompanies Dwyer's own well-established aesthetic routine, which tends to bumble around happy hardcore symbology and video image-hacking, data-moshed into gamer oblivion and splashed across product layouts and live performance dioramas.
Mastered by Sleep D's Corey Kikos.
Nice Music 2022