Anthony Saunders

Experimental / Death Metal / Progressive

New Jersey

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About

"...at its finest this disc brings out some great layering, discreet passages shifting with the progress of the pieces, and a keen sense of timing to achieve maximum harshness. Opener Rehearsal Tape 0322705 embodies all of this supremely, a disciplined, rarely slowing crash-course lesson in merciless jostle which treads the line between headfirst bedroom agression experimentation and mannered, restrained social interaction - both the self and the larger audience are catered for. ..."
- Night Science III, Cipher Productions, on Rehearsal Tapes Volume 1

"and yeah, saunders stuff is good. just wish he had a creepy name to go with it."
-Greh / Hive Mind

"i gotta agree about the rehearsal tapes cdr, amazing all the tracks were done live. the first track really gets you going to smash shit, excellent harsh noise. thanks for the trade anthony!"
- Ahlzagailzehguh

"Very tasty!"
- Chris Carter, Throbbing Gristle, on Rehearsal Tape 080805

Anthony Saunders -- REHEARSAL TAPES VOL. 1 [RSM]
First off, I can't believe that this was recorded live. It's astonishing what Mr. Saunders can achieve with his digital set-up. Utilizing the computer (and other tools) to the most extreme depths of harsh noise and ambient realms, Anthony delivers 8 rehearsals (ah!) each varying in lengths from 4:35-14:35! Recorded over the summer of 2005, this CDR definitely delivers everything you'd want, an extremely well-rounded and finely crafted release. Some of the sounds on this thing are just HARSH... it's wonderful. The second track showcases static loops, sounds that are almost like wind, and extremely high pitches building into a monster. The third is crunchy and cut-up, looping delayed synth textures and crackles, while the 4th has a similar cut-up method but vaguely rhythmic and glitchy feel to it. This quickly evolves into looping and harsh swirling chaos, courtesy of (I believe) some circuit-bent instruments. Track 5 is all out murder, expertly composed and panned, sliced apart but continuously scathing in delivery. Following this, we have a piece consisting largly of HUGE swells in sound and heavily mechanical feeling textures. Seven is a drastic exploration in the heavily cut-up and panned method used in earlier tracks, to a disorienting extent not achieved often on noise recordings. The closing track is a beautiful, crackling ambient piece, full of frying tones and popping electronic fires. [Dillon Tulk]