Accelera Deck. Ipsissima Vox. CD (out of print) DD (digitaldownload) w/ bonus track Lulluxa from; iTunes | Amazon | Napster Ipsissima Vox....translated "the very voice" is the first Accelera Deck full-length in over two years. The music is a sonic tapestry woven into flickering, contorted bursts of static and waves of caustic feedback. Within 15 songs, and over the course of 52 minutes Adeck mines the depths of beautiful noise that his previous albums have only hinted at. These sublime and intoxicating textures are freed from the constraints of rhythm, yet do not indulge in mere "exploration" of sound for its own sake. Rather the songs, and they are indeed songs, unfold revealing new layers and offering juxtapositions of noise/melody, structure/chaos, organic/synthetic. This album is culled from over ten years of home recordings, edited, compiled, re-edited and assembled into an unsettling, yet engaging document of blistering guitar damage, and fractured electronics. 01. Parallel 02. Rare 03. Evol 04. Fireflies 05. While 06. j-stereo 07. Opprinnelig 08. Gloss 09. White Out 10. Ipsissima Vox 11. Hail 12. Reckoning 13. Plateaux 14. Ghost Photography 15. Landslide Blues |: cover by Cataract Press released in association with;

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Reviews

Accelera Deck pulls heartfelt guitar performances and luminous synthetic noises through a digital kaleidescope of varied intensities and colors, creating a fearless exploration of frequency and nuance. With extreme attention to timing and detail, Ipsisima Vox finds an infinite beauty in the patient deconstruction of each sound and resonance; electronically processed beyond concrete recognition, these sounds take on a wondrous life of their own, and despite the digital effects and filters a surprisingly human feel has imprinted itself throughout. Nuance and tattered echoes of noise, resonance, silence so expertly crafted; this is the essence in which Ipsissima Vox creates it's sense of wonder, and enthralls the listener with thousands of delicate and deliberate gestures. Even through the digital layers and synthetic watercolors, you can vividly imagine this work being performed in real-time, so human is it's feel and sentimental it's voice. When the few, more recognizable guitar harmonies and fragments present themselves, you find them weathered and stumbling, day-dreaming, homeless . . . and you clutch to them, afraid to let those familiar moments of solace go . . . yet reveling in the effect even as they are absorbed in the digitized fabric of shimmering or quiet or staticky sound. An acoustic guitar wanders hopelessly, pulled and torn through a colorful vortex of digital effects (Parallel). A high frequency cluster gently crescendoes through a shimmering and burbling tunnel, illuminating a silent film splintered by age and memory (Rare). A pristine synth murmur is gently colored with soft noise and pulsating stereo resonances, finally dissolving into fragmented abstraction (Gloss). Crackling, searing high frequency feedback tones spatter and pierce, shift and oscillate, with relief found only in a few moments of distorted radio static chatter (Ipsissima Vox). Ipsissima Vox is chock full of poignant moments, as it scrapes and caresses and pushes against sensitive areas of the ear and mind in brilliant ways. An extraordinary and masterful work that continually inspires and captivates. Static Signals 01.2004 Opening with 'Parallel' a robust exercise in collapsing electronica underpinning a persistent guitar refrain, 'Ipsissima Vox' signals its intentions clearly. His first release in two years, Chris Jeely "edits, compiles, re-edits and assembles" ten years of recordings to create a collage of fractured melodies. A sonic tapestry that weaves precise guitar fragments and discrete refrains within a blanket of razor-sharp splinters and electronic noise, 'Ipsissima Vox' probes and develops Jeely's passion for 'damaged audio'. Throughout a series of gestures - the equivalent of an audio sketchbook - Jeely consistently delivers innovations. 'J-Stereo' a painstakingly built series of microrhythms which, .microsound tendencies notwithstanding, recall the sublime moments of Photek's precision electronics. 'Fireflies' an opaque guitar refrain masking a multi-layered pinpoint patina. Occasionally the storm of electronics subsides to reveal calmer moments and welcome lulls: 'Gloss' - a three minute oasis of calm; and 'Landslide Blues' - a series of teased apart slide guitar phrases that close this release perfectly, mirroring its robust beginnings. CM. %Array email periodical. Published by Fallt This is Chris Jeely who hides behind the Accelera Deck, an American who has gained rich experience considering his other projects, too Your Favorite Horse, or September Plateau. "Ipsissima Vox" , which translates as "the very voice", is a package of excerpts from his works from summer 1993 to spring 2003. It suggests that we deal with a kind of ‘sum-up' record, but this opinion might be seen as somewhat misleading. In general, you listen to it without any discomfort so typical of jubilee records because the contents of Ipsissima Vox are concise, without severe diversities in styles and tonality. Should we presume then that Chris Jeely did not experience any turning points in his musical career? I guess he did, but the selection of his works for the record makes the gap between one period and another almost unnoticeable. The beginning is calm enough (generally "Ipsissima Vox" has a calm character) a guitar twanging a la John Fahey, or Jim O'Rourke with the accompaniment of actively changing electronics. The second track is probably the richest in sound textures of all, where things change like in a melting-pot from one extreme to another. As the record progresses, it reflects the main trend of Accelera Deck works (when comparing the proportions of ‘quiet' works of the recording to other kinds) to calm and dark areas, a whole palette of micronoises, waves of sounds, barely audible hums, glitches, ambient landscape, it's enough to say that noise elements are generated even with a help of minimalist means (would you believe Morr Music used to have Accelera Deck in their roster?). Sometimes, we happen to find familiar guitar improvisation, but mere single islands they are. All in all, it's a record worth your attention, with attractive mood and many audio details for discovery. Good!!! Krzysztof Sadza. eld rich palmer Accelera deck returns with is second release in as many weeks, (reviewer is considering the UK release date) this time heading towards involving guitar synthesis and electronic variations a la Fennesz. Heartfelt guitar performances and luminous synthetic noises are fed through a digital kaleidescope of varied intensities and colors, creating a fearless exploration of frequency and nuance. With extreme attention to timing and detail, Ipsisima Vox finds beauty in the patient deconstruction of each sound and resonance; electronically processed beyond concrete recognition. Lovely. Boomkat catalog Chris Jeely's long-running solo project centers around various abuses/treatments of his guitar, plus source sounds that run the gamut of feedback, loops and digital manipulations. Culled from a decade worth of home recording, these recycled bits are occasionally, but not often, pretty -- and neither would you be if you were subjected to scalpel, stitched together, sliced up and super-glued together again for a third, fourth or fifth time. It's this simultaneous disregard and worship of structure that gives Ipsissima Vox its vital thrust. Jeely starts his fourth or (maybe?) fifth proper album with a plaintive little ditty wrought of five strummed notes peeking through a liquid morass of feedback and DSP. "Parallel" is breathtakingly gorgeous, initially conjuring the fragmented folk of Four Tet and later segueing into Fennesz-style harmonic ambience. At this point, it's appropriate to mention "Landslide Blues", which ends the album with a pensive whimper. It's a nice utilization of looped guitar processing, but most notable because it, along with the opener, bookends another thirteen somewhat difficult tracks. Jeely is obviously talented on the compositional end, and while it's unclear how he came to corrupt his own work in such a way, there's excellence within the grit as well as true emotions bubbling 'neath the surface. "Rare", with its magnificent, glitchy drone, is the first to snap you out of your comfort zone, like being bathed in dry ice by your grandmother. (Is that betrayal you feel?) "Fireflies" offers a quick return to heartstring-tugging acoustic guitars -- painted by zeros and ones and wet with Rothko's plucky scent -- then suddenly, a section of ornery, Mego-esque minimalism: the videogame spurts and frequencies of "While", the quiet, rippled clicks of "J-Stereo", the microscopic sub-bass rumbling of "Opprinnelig". "How is Jeely making these sounds, and what possessed him to?", you ask as "Gloss" offers respite with dew-strewn fields of chirping processors and scintillating, sun drenched circuit boards. There's little answer in Ipsissima Vox's last few noticeably harsh, computer-enhanced soundtracks, which often resemble ham radios burned at the stake. The album's moods and dynamics shift back and forth in startling fashion, like a seesaw with a trusting three year-old sitting on one end and a fat twelve year-old sociopath on the other. Jeely is clearly capable of more cohesive outings, but it's contrast that he shoots for here. Ipsissima Vox may not be the most delightful album you'll hear this week, but it's one that earns your respect, even if it has to use a circular saw to do it. Walt Miller. Splendid Magazine After hearing this album fans of Accelera Deck will definitely add this release to their list of favorites. After hearing it only twice it made my top ten list even though I have heard thousands of good releases this year and it wasn't untill late November that I heard this one. "Ipisissima Vox is a collection of digital and analogue recordings from the last ten years. Chris Jeely mixes broken bits of guitar with layers of feedback. At times his sounds are incredibly beautiful, but sometimes they are harsh and piercing. It presents all the sounds that Accelera Deck has previously offered, but this time it is more evolved and polished with an intriguingly noise-driven sharpness and strange melodic directness. The album starts off with crazy noise drenched water pipes and pitters mixed with spacey guitar riffs and it doesn’t exclusively stay there. These tracks boldly fade and cross in and out from sounds that can at times be considered lullabies with pianos to quiet robot glitch-love sounds heard in a underground sewer where construction people work and listen with smiles on their faces. The minimalist noise that is heard between the tracks is essential to this album, making the random clips mimic subtle heartbeat blips. This, in my opinion keeps this very experimental album together. Highlights for me are gloss, hail and reckoning. Anne Sulikowski !Earshot On 'Ipsissima Vox' ("the very voice"), Accelera Deck (chris jeely) uses guitar, feedback, loops, and treatments to create fifteen tracks recorded between 1993 to 2003. while the guitar is jeely's primary source, it's transformed so radically throughout that conceivably other instruments might be present too, so alien are the sounds he generates. a full lexicon of sonic vocabulary is on display with smears, scrapes, and splintering shards inhabiting the pieces, jeely fearlessly tearing the material apart and re-assembling it into compelling fragments that pierce, flicker, combust, and drone. raw electronic storms of high-pitched frequencies and abrasive feedback are leavened by fleeting oases of gentle calm. he conjures bucolic moods that recall greg davis's music on some tracks although jeely goes much further in deconstructing the source material into malleable fragments. a good illustration is the wistful opener 'parallel' whose glistening acoustic guitar shimmer is processed at times beyond recognition, with melancholy traces of untainted guitar surfacing through the static. elsewhere fennesz's style is evoked, by the machine-like grinding on 'rare,' for instance. even though jeely restlessly explores a full spectrum of electronic sound, the tracks group together to some degree. 'parallel' and 'reckoning' show their acoustic song-oriented origins most clearly, although both are overhauled by processing treatments. Other tracks eschew song structure elements for textural abstractions that one might classify as microsound or microtonal. ambient drones are here too, although presented more concisely than is the usual custom. 'ghost photography,' in fact, builds from ambient drone to seething cacophony in a mere five minutes. 'ipsissima vox' is distinguished by its generous range of sonic explorations and styles; it would be more distinguished, however, by a greater preponderance of melody-based songs rather than the more abstract pieces that predominate. although interesting as explorative exercises, they're less emotionally engaging. notably, jeely ends the collection with memorable bluesy guitar on 'landslide blues,' perhaps implicitly acknowledging the greater impact of his more melodic pieces. Ron Schepper. Absorb Emotionally engaging tracks of treated guitar, acoustic, loops and daydream-evoking environmentals. Accelera Deck can sooth and gradually become difficult, cutting up the pretty melody into distorted chunks. Somewhere in there it evens out, the melody and light wins but the spector of oddity looms. Like FINAL if Justin were to use a heavy FX hand on all his pieces. But there are fifteen tracks here so without sundering the galaxy completely, the same world never stays for long, it changes...Ipsissima Vox wanders but isn't necessarily lost. I'm reminded of why I like things like Loren Mazzacane Conors and Crawl Unit, and can picture a hybrid of the two when Accelera Deck cut loose. The strange worlds, the multiple levels of sound, the dramatic charge of acoustic enviroments affected out of character. Fantastic material for any guitar-ambient listener. Manifold catalog Parallel, the opening track on Ipsissima Vox by Accelera Deck, aka Chris Jeely, sounds like your mate tuning up his acoustic guitar whilst flicking through the effects programs. The album continues with well-controlled feedback, industrial drones and malfunctioning windscreen wipers, the guitar as input device occasionally discernable beneath the soup of a fractious, sometimes chaotic and digitally clipped mix. A headphone listen is recommended, though you’d be advised not to turn up the volume in the quiet bits, lest your eardrums be cut to ribbons later. There are less obtrusive tracks, which wander into ambient territory, and others to rival the sound of fingernails running down a blackboard during an alien invasion, which will have your amp handling frequencies rarely, encountered. The massive wash of ‘Ghost Photography’ pulses with a rare rhythmical suggestion, the album ending with a hint at Jeely’s native Alabama in the squelch and slide guitar of ‘Landslide Blues’. For an album written over a period of 10 years, this has great cohesion - possibly due to the fact that it was produced and mastered in a much shorter time, with heavy reliance on one rather effective bit of software. Roland from Poland. Furthernoise Ipsissima Vox is No. 1 for March 2004 on free103point9