Mincemeat Or Tenspeed

MINCEMEAT OR TENSPEED
  • "Mincemeat Or Tenspeed’s live show seem to comprise of two equal parts, amazing skill and chaotic chance, which team together to create fascinating soundscapes." - Jason Glastetter, CMJ Blog
  • "Mincemeat or Tenspeed at first come off as a smart ass take on Steven Reich. However, as the needle grooves through, Mincemeat builds on the riff, shatters some rhythms, and shifts into new hooks. This is loud minimalism and full of all kinds of great ideas." - Scott Soriano, Z GUN
  • "Although spawned from Pennsylvania's DIY Noise scene, his music more closely resembles Techno. Harm's instrument is a table full of guitar pedals, all plugged into each other in a sinister web...hearing that thup-thup-thup sound transformed into the kick drums of dance music, it blows your mind that no programming is involved. Simply through the careful tweaking of knobs on pedals, Harms moulds feedback into an infectious approximation of four-on-the-floor club music....He's a trailblazer of the most exciting sort, one to whom an audience hasn't yet caught up." -William Hutson, The Wire
  • "One can infer a lot about a musician's relationship to hardcore from their effects pedals. Black Flag pissed off the jocks by growing their hair out and exploring ponderous jam-band territory, but modulating the guitar signal might have been a more serious affront. Black Dice took the latter tack, with Bjorn Copeland's guitar playing the role of sound generator in contrast to Greg Ginn's Tourette's-stricken riff machine. Philadelphia's David Harms goes by Mincemeat or Tenspeed and does the narrative one better by dispensing with the guitar altogether: his rig consists of a feedback circuit of effects pedals and a mixer. There may be only one other notable instance of this kind of setup: Nurse With Wound's uncharacteristic triple-LP of rippling metallic drones, Soliloquy for Lilith (Idle Hole, 1988). NWW's Steven Stapleton claims to have created the album by gesturing in the air above the circuit — he puts it down to an electrical anomaly in the studio — but Mincemeat's Harms is more accurately imagined trying, with limited success, to contain his own in-the-red squall by throwing his upper torso over a guitar-pedal-ringed Eye of Sauron. The sound-dust Harms assembles into the seven well-structured pieces that make up Strange Gods (Zum) moves at a velocity and with a restlessness that recall minimalist composers as well as the formal noise bacchanal of Kevin Drumm's Sheer Hellish Miasma (Mego, 2002). It's all-American, free-form blood 'n' guts noise that takes formal and textural cues from early electronic music — Hair Police listening to Gordon Mumma." - Brandon Bussolini, SF Bay Guardian
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