Pay Dirt
Error Theft Disco (C45)
Blue Screen 2020

Side A:
1. Ala Modem in Modernity
2. Brutal Hygiene
3. Harrier Spray

Side B:
1. Mouthsh

Electronics/Sounds: Victoria Shen and Bryan Day
Recorded in Boston and San Francisco, Summer 2020.

Reviews:

(Lost In A Sea Of Sound) The margins of sonic safety have been shredded. Sound creators and manipulators under the project Pay Dirt stand on the far side of an aural density. With gleaming hand made scythes, Victoria Shen and Bryan Day have collected a windrow of noise from fields of infinite possibilities. Raw and unprocessed, Error Theft Disco has been bundled and compositions sent out to connoisseurs, scholars and specialists for analysis. The informal results being a microwave burst of tumultuous radioactive clarity. The how and why can not be explained, but the message is clear, this is progress. Drifting on the edge of the galactic barrier (the negative energy field from Star Trek), Error Theft Disco seems to be a collection of chaotic creativity. Massed together, these sounds form an almost impenetrable partition for listeners to cross and explore. Like many en devours, patience is the asset needed to find a path into the noise field. With this strength, the sounds become individualized, details surface and become uniquely special. The formidable forty minutes of Error Theft Disco becomes a journey of many wonders. The fluidity and congruence of the sounds in whole will be topics for pupils in creative noise programs of future generations. Released on the new label Bluescreen from Shanghai, China. The label has releases by Globe Discount Center + Das Torpedoes, Yan Jun and Pay Dirt so far. Error Theft Disco is in an edition of fifty cassettes. Copies are currently available. - Robot Rattle

(Disaster Amnesiac) Incomiiiiiiing!!!!! It's always nice to get a new package of sounds from Public Eyesore/eh? Records, and recently Disaster Amnesiac opened the mail box to a thick package of goodies from that fine label. Three brand new cassettes, shrink wrapped and everything, ready to be unsealed and dug into. I'll be doing separate posts on each of them, starting with Pay Dirt's Error Theft Disco. This duo, made up of Victoria Shen and Bryan Day, both of whom are inventors of instruments, was recorded in summer of 2020. As Disaster Amnesiac has listened, I've definitely wondered if these were done in personal proximity or through file sharing. No information as to this aspect is given, and I'm curious because the two get a very "live" sound with their various rigs. This sound is one that ranges from large scale junkyard machine scraping action to smaller scale disembodied voices that chitter and then flutter away. Big clangs alternate with pregnant pauses and outright silence. Whooshing, grinding sounds bubble up from the ether. Muzzy feedback clashes with bright bleeps. Error Theft Disco's overall feel has me thinking about older sounds from what was called Industrial Music; jeez, there are so many sub-genres of it now, but Pay Dirt seem to hearken back to the roots of it, the sounds of mad scientist engineers cobbling together wonderful machines in quiet isolation, the kind of machines that make a lotta noise. Multiple listens have revealed layers of sounds and the interactions between Shen and Day. I'd advise that one take the time to do them, as for me, the more I've listened, the deeper these layers go and the more sound surprises emerge from their mixing. It goes without saying that Disaster Amnesiac really wishes that I could see and hear Pay Dirt and their self-made machines in a live setting, as I've felt that that would reveal a lot about the auditory clues thrown around throughout Error Theft Disco and its four tracks. Until such a time, it's fun to puzzle at the sounds of their duo action via this cassette. - Mark Pino

(Bad Alchemy) Wie kommt Bryan Day, der Macher von eh? und Public Eyesore, auf ein Label in Shanghai? Nun, erstens liegt der Ferne Osten von der East Bay aus nicht so fern, und zweitens liegt Charles LaReau aka Das Torpedoes, Days alter Kumpel in Naturaliste (und eigentlich als Leser von Miroslav Krleza, Musil und Der­rida ein Kapitel für sich), dort vor Anker und bringt Kassetten auf Foreign Lands und Blue Screen heraus. Days Partnerin dabei ist die in Massachusetts und San Francisco mit Analog Modular Synthies, Amplified Objects & Self-Built Electronics aktive Victoria Shen, die 2020 mit "Hair Birth" ihr Solodebut vorlegte. Ihr Clou ist es, statt cool an Knöpfchen zu drehen, sich als weißblondes Riot Grrrl in Hotpants rein­zuknien in ihre Gerätschaften, sich in ihre Kabel zu verstricken und sogar zu ver­beißen und damit rumzutoben für eine Harshness und physische Verve im asia­tischen Stil. Mit Day inszeniert sie knur­schige Konvulsionen von granular bro­delnden Noisepartikeln, durchsirrt und durchschrillt von ätzendem Alienblut, ge­nüsslich zwitschernd, rau scharrend, im­pulsiv pulsend. Als synapsenschrubbende, rachenputzerische, darmspülende 'Brutal Hygiene', grobkörnig und vibratorisch, mit dreckigem Grinsen der verweichlichten Postmoderne verordnet als Radikalkur, wenn nicht sadistisch, dann doch sarkas­tisch. Sprachfitzel werden im Soundwolf geschreddert, rhythmische Pixel zerpicken die schnarrend versprühte Kakophonie. Wie einst die Wale in den schwimmenden Schlachthäusern werden hier erlegte Kaijū zu Tran und Noise-Gulasch verarbeitet. Ähnlich wird beim die B-Seite füllenden 'Mouthsh' Medienton verhackstückt und zersuppt, mit einer twangenden Gitarre ge­würzt, mit knacksendem Vinyl, sprudeln­dem Gezwitscher, nadeligen Fluktuationen und weiteren zerschrillten Stimmen ver­rührt. Mir kommen Eric Lundes "Ghost by Mouth" und Le Scrambled Debutante in den Sinn. Aber so wie Evicshen zwischen Dreckspatz, Domina, Elektrolurch und Geek zwittert sonst niemand. - Rigo Dittmann

(Vital Weekly)  Noise music is on the cassette by Pay Dirt, a duo of Bryan Day and Victoria Shen. The latter is from San Francisco and works with analogue modular synthesizers, amplified objects and invented instruments and Day is the man behind Eh? Records and well-known for his instrument building out of junk material. Their noise is one of distortion, of chaos and destruction but it is not the sort of noise that stays on end in the same place. Things scratch and tick, burst and crack all the time, and I was reminded me of a nervous shaking Merzbow with a lot of objects, say towards the end of the '80s. I don't think I heard much other work by Victoria Shen, but I did from Day and this is certainly something different for him. At least, I don't recall much noise from him and as such, this is a fine break from the more carefully planned music I know him for. It's four tracks, forty minutes in total and quite a beast. What can I say? Play it as loud as you can. - Frans de Waard