Liverpool Sound and Vision Rating * * * *
The flesh of any art should always be ripe, ready to consume, appealing to the eye and one that draws you in to see below the surface, wanting to devour the core, to drain the pulp and squeeze the very life out of it so that you can feel the soul being refreshed; much like the attraction of a succulent fruit on offer in a grocers shop, we are pulled in by the vision, no matter what the underneath may contain.
A vision without words, that is the basis of Bell Barrow and the instrumental existentialism that is at the heart of CoreCore Pulp, an ambience of fretless bass, drums and synth driven by Jeremy Moore in a cacophony of unregulated influence that delves deeply into the psyche of the listener as if they are being hypnotised by binaural beats, an infusion of increasing beautiful chaos given form and substance.
The active punch, the allure of the energy cackling performance that highlights drama and ferocity, and as tracks such as Recidivism, Coffin Text, Glass Negative, Peace Field Autopsy, and From Hunter To Remains repeatedly power and merge the Avent Garde, free Jazz psychedelia, and an influence of Black Metal that weaves its way through the labyrinth of complex sounds and emotions that surface with increasing severity and fascinating industry.
This new project from the Washington D.C. artist is one of visual chaos, mixing images of destructive personality and the excess authority of social media in such a way that it becomes aurally addictive, an impact that finds a kind of feral distribution that does much to explain the way our society has become its own damnation, and in the persona of Bell Barrow and Jeremy Moore offers a cool dynamic in which to showcase the fall of others whilst maintaining balance and hope within himself.
A delicate ear, a soul that is ready to grasp the intricacy of a pulse given a rush of emotions, CoreCore Pulp is the devouring of flesh and tissue of modern deceptions offered by those with crushing intent and in which a few like Bell Barrow offer resistance in the form of experimental art and one that requires visiting.
Ian D. Hall