"Debut LP from Meginsky. Subterranean, nearly-inaudible restraint and a rushing, stuttering throb rule the night on this record. Its electric moods are so resolutely alien they suggest worlds unknown rather than create them. Irregular heartbeat thumps are set against high end atmospheres explored in microscopic detail. Haunting overlays of tones fluctuate and tremble, and not one moment feels forced. The music is meticulously constructed and consistently surprising. The electronics spin away, shooting off into bizarre and unexpected territory, and all the while Meginsky guides them with a benevolent, confident, endlessly fascinating hand. To hear him tell it, the record is 'a document of me looking for the experience I have not yet had, and maybe will never have. This is where the title comes from. The pull of the void.' Natural phenomena, like fog or mist, tend to render the environment and one's ability to see it nearly impossible, and if you tilt your head back like you have a nosebleed there is always the fear that the sun might set sooner. When you stop in a secret place there is no need to talk. These are streets full of sullen languid violence and grey phantoms." -- Matt Krefting Holyoke, MA May 2014
"By its closing track the album is in a state of malfunction, with rhythms splintering and disintegrating, peppered with fizzing tonal clusters and static blasts which sound more like Voice Crack than anything you’d expect to hear on a dancefloor." The Wire
"All electronics, almost all smooth and clean sounds chosen, it references beat-driven styles with seemingly regular rhythms, but they're overlaid in non-obvious patterns and use very different textures, resulting in a fine sense of space where the relative absence of grit and inexactitude don't bother me nearly as much as is often the case in work I've heard that's tangentially related" Brian Olewnick
Jake Meginsky / electronics
Artwork by Bill Nace. Mastered by Mark Allen Miller.
Available as 320k MP3 or 24bit FLAC
1. L'appel Du Vide
Electronic Musician, Percussionist and Composer Jake Meginsky has collaborated and performed with such artists as Milford Graves, Alvin Lucier, Joan Labarbara, Vic Rawlings, Greg Kelley, Bhob Rainey, Joe McPhee, Thurston Moore, William Parker, Daniel Carter, Paul Flaherty, Arthur Brooks, Bill Nace, and John Truscinski.
Meginsky frequently collaborates with choreographers and has worked with Cori Olinghouse, Paul Matteson, Jen Nugent, Susan Sgorbati, Katie Martin, and Nora Chipaumire. He has a longstanding artistic relationship with Gwen Welliver, and recently composed the score for her new work, “What a Horse”. Welliver and Meginsky will debut a new work at the Ginbney, NYC in 2017.
David Keenan called Meginsky’s 2014 solo record, L’appel Du Vide, “a hallucinatory electro percussion masterpiece” and in the WIRE Magazine review of the album, Nick Cain wrote, “the album uses little more than a couple of sounds, extracting often head spinning complexity from a minimum of means.” His newest solo release, Seven Psychotropic Sinewave Palindromes, was listed in "FACT Magazine’s top 25 albums of 2016 so far".
His recordings can be found on NNA (Burlington, VT), Feeding Tube Records (Northampton, MA), Rel Records (Providence, RI), Open Mouth Records (Northampton, MA), Hells Half Halo (Seattle, WA), Wooden Finger Records (Belgium), Ultra Eczema Records (Belgium), and Ecstatic Peace Records (Northampton, MA). He remixed Body/Head’s (Kim Gordon & Bill Nace) “Last Mistress” for Matador Records (NYC).