Carbon Bands:

 
Ada le O
Andy Gilmore
Asthmatic
Autumn in Halifax
Chad Oliveiri
Crush the Junta
Deciduous vs Conifer (aka AC vs DC)
Entente Cordiale
Finkbeiner
Hilkka
Hinkley
Joe+N
John Charlton
Kelli Shay Hicks
Noh
Pengo
SHED
Sheet
SQ
Transcendental Manship Highway
Tumul
Tuurd

Sheet

Stats:

Birth: April 1, 1994
Members: Nuuj

Contact:

nuuj@rochester.rr.com

Bio:

Sheet is more than just noise. Sheet is something else. Sheet is more than guitar pickups attached to pieces of sheet metal. Sheet is more than one man and three amps. Sheet is more than 15 pedals. Sheet is loud.

Releases (4):


The Aftermath.... - chin photos

Past Shows (3):

Media:



      Related Reviews (7):

      Foxy Digitalis
      RELEASE: Buck Again
      “Bucked Again” is the first full-length from Kelli Shay Hicks, following last year’s three song ep, “Bucked.” Reviews for that disc inevitably focused on the fact that it was produced in a handful of remote locations by independent film maker Jem Cohen (also presumably the inspiration for the new album’s “Jem”).And while she stayed in one place to record “Bucked Again” the album has a wispish intransigence to it that suggests restlessness and a fear of decay.

      The packaging adds to the mystique. The disc comes housed in a die-cut cardboard case painted gold; there’s no indication at all of what’s inside. Song titles and credits are then printed on an enclosed single sheet of delicately translucent paper, giving the project an air of otherworldliness.

      Once inside, the hushed chamber music feel brings to mind the best solo work of Kristen Hersh (whose debut “Hips and Makers” once guided me safely through a treacherous Rocky Mountains snowstorm as cars all around me careened off the road). The instrumentation primarily consists of Hicks accompanying herself on acoustic guitar and autoharp. Hicks is certainly an inspired fingerpicker. Close your eyes during the brief instrumental “Andy” and it’s not hard to imagine you’re listening to something off a Jack Rose disc

      At the same time, though, there are subtle rhythmic touches that add immeasurably to the depth of sound. Listen to Rob Doran’s plucked bass notes as they move across “Go Away” and marvel at the way they emphasize the song’s themes of decaying romance.

      Lyrically, Hicks walks that fine line between the vague and the obtuse, seemingly addressing specific people with a sparse poetry. I’m particularly enchanted by “Hospital Song.” She sings:

      Don’t you let them look at you
      don’t get inside their cars
      once inside they try to marry you
      and by then you’ve gone to far
      volunteers from the hospital
      come to try to give you tests
      once inside the hospital
      on your test you do your best

      I’m not quite sure what she means, but I know exactly what she’s getting at, and the irresistible poignancy of the medical metaphor only adds even more weight. This is a disc for dark nights and quiet introspection. I look forward to further uncovering its haunting charms. 8/10 -- Scott Downing (7 August, 2007) - Scott Downing

      City Newspaper
      SHOW: AV Curators Show - A|V (Rochester, NY)
      [ART PIECE] Joe Tunis' (aka Joe+N) sculpture provides a palate-cleansing meditation to soothe the eyes after their initial jolt. Hung on the wall like a painted canvas, his piece features a large, square sheet of new, smooth plywood with a much longer and weather-beaten 2"x4" extending beyond the top and bottom of the plywood behind it, attached by a smaller block of painted wood. Moving around the sculpture reveals alternate perceptions of depth; a head-on look focuses the viewer more on textures than dimensionality. There's much to dwell on here: the tension between purchased and salvaged materials that could be an oblique criticism of consumerism, and the meditative effects of letting a person's eyes get lost in the intricate patterns of wood grain. In true minimalist fashion, Tunis has inspired a lot of thought and emotion with very little material. - Luke Strosnider

      LastFM
      RELEASE: Faster
      I picked this CD/DVD set up the day it was released at a show last year in Rochester NY, just played it again for the first time in months. Forgot how sweet this stuff is... Sheet is one of the most intense harsh noise acts in the Eastern US. He has a joy for sound that brings freshness to every one of his projects, including Sheet, Pengo, Asthmatic, Hilkka, and his work with Arthur Doyle. If there are still copies of this out there, I recommend every harsh head pick one up. - burlapwax

      NOSOAPREDIO
      RELEASE: the nature of systems
      In addition to drumming with Terrastock 1 performers, Hilkka, Joe Tunis also runs the Rochester, NY-based Carbon Records label and loops tapes and other exotic electrical and "found" instruments as leader of the algebraic equation, Joe+N (where n= his number of collaborators.) Talk about wearing your math rock credentials on your (CD) sleeve! For Carbon's 25th release, Joe has solicited contributions from several T'stock cohorts (and their various side projects) and Carbon label stalwarts and offers up this (mostly) successful experiment in the exploration of sonic textures. The Arthur Doyle Electro-Acoustic Ensemble break out their toy penny whistles on "Flue Song," while Andy Gilmore's "She's Settin' HerAssin A Bathtub" gathers conch shells and warped Carribean-styled kettle drums (bathtubs?) and sets his assdown in a cone of silence. The dichotomy between sea and sky (or water and air, to be more precise) is simulataneously unsettling and fascinating. Tom and Christina Carter will be making a rare live performance at Terrastock 4 in Seattle in November and "Mansfield Dam," recorded a mere six months ago is a tasty teaser of what fans may expect from this husband and wife duo who record under the enigmatic name Charalambides. Plucked guitar strings, recorded forwards, backwards and across all points in between are layered upon Christina's ethereal chanting, where notes and tones (not exactly "singing," per se) combine to form an angelic choir under the direction of ersatz Cocteau Twin, Liz Fraser. Christina may chastise me for making said comparison, but it is actually meant as a compliment. No amount of compliments, however, can save Finkbeiner's super distorted, melodic chaos, "Yes, It Can" from the obvious rejoinder. This sci-fi guitar extravaganza seems to be directed towards answering the musical question, "Can your guitar do this?" My response, "Perhaps; but maybe it just doesn't want to." Staten Island's Golden Calves Eskimo Lime Band is represented with the mercifully short noise experiment, "Hostel Song." The Flying Luttenbachers' "Maximum Cruelty" lives up to its name as Einsturzende Neubauten meets Faust on the dissecting table under the musical direction of Coltrane in the throes of withdrawal. Painful stuff. Burlap drop by with the sound of a cassette tape fast forwarding over a Cure-like single bass note ("Coming Home"), while T'stock vets, Pelt present a Dream Syndicate drone accompanied by Amy Shea's Conradian violin touches. "The Dream of Leaping Sharks" even sounds like a title that escaped from the clutches of Young and co. and is the highlight of the first half of the disk. Host Joe Tunis steps outside the skronk and squalor of Hilkka for some electro-astral projections which catalog certain "Types of Interference" and T'stock fave Loren MazzaCane Connors does the same with his guitar in "I've Had Trouble, I've Had Joy," a piece so quiet and meditative it lives up to the adage: I will strike no string before its time. The six string equivalent of a Low vocal. Nod break out all their Neil Young wah-wah distortion pedals and harps for a good ol' fashioned backporch, backwoods toe tapper, "John Henry vs. The Smog Monster." Can you say "Soo-eeee?!" Paging Mr. N(o)d Beaty! We began with the carny-like strains of Arthur Doyle and we now present the carnival from hell strains of Mick Turner's "Carny's Dance." It'll scare the kids (and weak stomached adults) sh*tless! Hilkka's Rich Nuuja tortures his guitar in his side project, Sheet and "Quick Stomach" will empty even the staunchest NiN fans' and is strictly for Japanese noise afficianados. Carbon Record's SQ pours Borbetomagus into the Lhasa Cement mixer and the resulting block of musique concrete should have Neubauten and Faust fans quaking in their kneehigh goose- stompers, while Bardo Pond continue to expand the gap between the quality of what they're capable of delivering (Amanita) and what they're actually releasing as the two notes and a prayer "Vagabond" goes nowhere in a hurry. Side Projects 'R' Us continues as The (other) Dream Syndicate's Karl Precoda and Pelt's Mike Gangloff meet in a "Metal Shop," fire up the blade sharpener (which often morphs into a police siren and is actually – I'm guessing – Karl's guitar) and layer the whole shebang on top of Mike's extended drone (also, presumably, his guitar) and in the process forge a whole new entity I've christened Inside the Dream Syndicate, aka IDS. It sure beats the s**t out of Table of the Element's recent snippet of the (other) Dream Syndicate (aka EGO)'s work in (and out of) progress. Tunis and Finkbeiner (assisted by John Schoen on percussion) return under the guise of Pengo, whose "New Loft Elevation 2001" again begs the industrial comparisons with Neubauten although, instead of "collapsing new buildings," this approximates erecting them. At the beginning of this review I referred to the sonic/texture exploration that can be found within these grooves (bits and bytes, actually.) Tunis has assembled a fine collection of pieces that, while occasionally derivative of areas that the past masters have delved into, offers a 21st century take on how music FEELS, as opposed to how it SOUNDS. To experience these pieces is to be enveloped within the machinery – the hardware – of the musical voices of their creators and not the typical heart (or software) that one usually expects from a composition. This is music of the body, not the mind. Don't spend too much time thinking about it (I've just done that for you), get out there and feel it. This, then, is the "nature of systems:" they act upon each other to "push society forward" as Joe says in his liners. Action, not necessarily thought (or discussion which, if you think about it, is actually IN-action or stasis) is the key.


      Crucial Blast
      RELEASE: the nature of systems
      This excellent compilation has been out for awhile, but we've never carried it before, and with the great mix of artists/bands on this CD, we just had to offer it for anyone who hasn't come across this stellar psyche/drone/free noise/deathjazz comp previously... Featuring exclusive songs from CHARALAMBIDES, THE FLYING LUTTENBACHERS, PELT, LOREN MAZZACANE CONNORS, BARDO POND, as well as THE ARTHUR DOYLE ELECTRO-ACOUSTIC ENSEMBLE, Andy Gilmore, FINKBEINER, THE GOLDEN CALVES ESKIMO LIME BAND, BURLAP, JOE+N, NOD, MICK TURNER, SHEET, SQ, Karl Precoda/Mike Gangloff, and PENGO. Arthur Doyle Electro-Acoustic Ensemble starts off the disc with "Flue Song," a queasy flute melody delivered overtop what sounds to be field recordings of frogs with some spacey whoosh appearing throughout. Nice. Andy Gilmore follows with some pleasant string-bending ambient guitar abstraction, all subdued haze and hum with a strange voice sample appearing briefly halfway through, and ending with a chime-driven climax. Charalambides donate "Mansfield Dam", a minimal, glacially paced piece of abstract folk drift, not too far from their "Being As Is" material released on Crucial Blast, though it sounds strangely "digital", with the sporadically plucked acoustic strings being processed into little blips of melody that zip by via tape editing and masking. Eventually a minimal riff appears reminiscent of LOW and Charalambides "Home" and "Houston" CD, as Christina Carter's angelic voice loops in and climaxes the track with an absolutely GORGEOUS haze of droning bliss as her vocals become layered upon each other into infinity. Next up is FINKBEINER, with a dusty, cosmic drone-jam that straddles the line between sublime 70's sci-fi sound effect bleepery and Ennio Morricone style epics. Golden Calves Eskimo Live Band emerge from the shadow of TOWER RECORDINGS, with a brief duet between a roughly Jandekian acoustic guitar and what might be the weird recorded laughter of a battery-operated talking doll. Thoroughly creepy. The Flying Luttenbachers appear next with "Maximum Cruelty", a BORBETOMAGUS -esque blast of improvised-with-cues free-jazz-meets-death-metal splatter. Burlap 's "Coming Home" features a haunting, repetitive bass and guitar melody with wheezing electronics and shimmering blip noise. Pelt's track is recorded live and is more of their basic ethno-forgery drone sound, being a cavernous/ominous jam by an actual violin quartet, reminiscent of Sun City Girls collaboration with Eyvind Kang. Joe+n delivers some droning vinyl pops layered over ORGANUM -esque metallic shimmer. Loren Mazzacane Connors coaxes a dreamlike melody from gently reverbed guitar. Nod do their usual shambolic garage-rock, although "John Henry vs. The Smog Monster" infuses it with a country blues vocabulary, making it a wistful, vaguely Dixieland-sounding burst of free-rock stumble. Mick Turner of the Dirty Three follows and defies expectations with a rather wild cut-and-paste plunderphonic 'contemporary classical' type piece. Sheet is another Rochester-ite doing 'sheets' of noise. Kind of John Wiese-y, though with less "digital shock" and more on the "incendiary robo-drone" tip. SQ brings back the free-death-chaos with "After Being___So Long", an icy room-ambient piece with distant amp buzz, improvised cymbal splatter, and eternal feedback that mutates into shrieking skree collapse. Bardo Pond lumber through "Vagabond", a gnarly drone rock abrasion that sounds like SHELLAC drunk on cough syrup and stuck on a merry go round. Karl Precoda and Mike Gangloff team up for "Metal Shop", fusing field recordings of the aforementioned locale to a lower-register bowed-string drone. And Pengo end the disc with a jam called "New Loft Elevation 2001." At the raucous beginning, John Schoen's 'sound sources' create a feel more like To Live and Shave in L.A. than what one would expect from these guys, although it soon dissipates and out of the dust emerges a percussion-driven ethno-forgery jam with weird multi-tracked reed playing by Joe Tunis. The last few seconds are really great stuff, as the percussion groove morphs into a lurching electro-glitch groove. Overall, a superb diverse collection of drones, psyche-folk, free-noise, and deathjazz!


      Chicago Reader
      SHOW: Hail Zukas, Mommy Wont Wake Up, The Lotus and Pengo - House Party (Grand Rapids MI)
      In the past, Pengo 's performances have involved attaching contact mikes to sheet metal, ambling around in costumes made of trash, being strangled by audience members, and playing nose kazoo. - Liz Armstrong

      Nashville Scene
      RELEASE: climbs the holy mountain
      Holy Mountain / Show Preview - Kinds of the Rochester NY noise scene -- larger kingdom than you might suppose -- this three-man ensemble most recently recorded a pulsing, clanging suite to accompany the wordless first 31 minutes of Chilean filmmaker Alejandro Jodorowsky's surreal odyssey The Holy Mountain. There's no word on whether the footage will accompany the group's show at Springwater, but without Jodorowsky's assaultive visuals of deformity and exploding frogs, the piece unfolds on CD as a sonic squall that swells, rages and recedes -- a recipe for a potentially mesmerizing live show. Adept at instruments ranging from zithers and amplified sheet metal to Tibetan prayer bowls, Pengo headline a five-band bill of electronic experimentation and drone-rock that includes one-man Toys R Us-noisemaker Radio Shock, Breathmint label chief Mat Rademan's band Newton and Nashville's own Tan As Fuck and Banjoland, both featuring former members of the New Faggot Cunts. (Oct 24, 2002) - Jim Ridley