Blood Ties Webzine
Another Enough Chairs is coined as an “abstract folk” act by label Deadsealiner recordings and that doesn’t seem too far off. I think you get a bit more of the abstract here then the folk, but there are a few acoustic instruments including a guitar and harmonica which make up for the folk portion I guess. This is a nice surprise because it often trails off into the “wanky” aspect of noise without becoming too annoying or pointless. With three tracks in about 1/2 hour (the half hour part seems to be the norm with Deadsealiner releases) the album kicks off with it’s strongest track that consists of delayed industrial pulses and clicking delay sounds, which are definitely interesting. This is strange because it’s produced better then it sounds like it should be so it has a definite lo-fi aesthetic without taking away from the music at all. The throbbing eventually gives into wanking off guitars and for the duration slips back and forth between these opposites, a strong start to a solid recording. This most closely reminds me of the difference between bands like Avarus, the Finnish purveyors of noisy free psych folk and darker quieter projects such as Uton of which I am also a fan. The second track is a bit more folky with a slow methodical drum beat accented by tambourines and backed by windy noisy drones. For an unexpected twist they introduce the harmonica here, which surprised me especially because of the very dry quality that it has alongside side the more echoing drones but it is quickly joined by an acoustic guitar and vocals of a similar nature that accompany it well. Just when the track builds to a height where it is beginning to get a bit monotonous it drastically changes and I am kept interested. It appears Another Enough Chairs can correctly gauge when enough is enough, which to me is a very important aspect to apply. The third track is my least favorite most likely because it is the most wanky and (disregarding the drones) centers mainly around the electric guitar, an instrument that I feel carries too much baggage to be properly employed alongside most experimental electronics. This is still pulled off with a bit of originality and thoughtfulness though that it still works and manages to go by without taking much away from the album. The last track’s noisier quality brings it a bit closer to the likes of Skullflower but there are times when the drones pull back to let reverberating percussion float throughout the space. Overall a good solid listen, this could almost be trendy material now as this psych free folk stuff seems to be getting very big nowadays but this is still very experimental and noisy with enough industrial flavor to appeal to fans of the harsher stuff as well.

The one true dead angel
Long live the throne of drone -- more and more this UK label is the place for your ears to be if you're down with the drone. This is the label's third release; the band's name has three words; the band drops three packets of drone science here. See how it all comes together? The first track, "microphones," is a slow whirling drone that is eventually joined by lots of clanking and clattering and noisemaking in general -- not loud, harsh, violent stuff, but strange sounds that come and go at unpredictable intervals, rising from the background and rushing between the speakers before disappearing, even taking solo turns at strangled fuzz-yowling before a percussive drone loop and a growing wall of noise take things in a new (and loud) direction. The second track, "very pressing," is a low-key cyclotron drone over a minimalist beat that's assaulted from all sides by various forms of noise, feedback, and vocal frippery, with a sound that's both eerie and alien in its tone and unpredictability. Naturally, on the final track "cara flaca," they burst into -- yes! -- a Latvian marching song! No, fool, they do the drone some more! Big surprise, right? And it's a good drone, one full of squeaks and squiggles and shaky-ass fuzzdrone like someone jiggling one of the amplifiers. Minimalist, lo-fi, just right. Swell stuff.

Foxy Digitalis
When creating free-whatever music, the artist is usually going to need at least two things to hold my interest: interesting sounds, and sensitivity to their arrangement and progression (call it selection and spirit perhaps). "Bring that Voice to the State" is mostly an interesting listen, with a few issues holding it back. It's first track, probably the best on the album, has a nice industrial drone feel while not being overly dark. The rough pulsing drone-scape chatters and swirls around and pulls the listener in with tiny chimes on top of the mix -nicely done. The second and third tracks are more inconsistent, mostly because of some of the instrumentation used- a dry, naively played harmonica loop on tracks two and three, and an electric guitar on track three with the distortion turned all the way up. While these tracks are not all together bad, the elements that stick out really do hinder me from fully enjoying them. I like Another Enough Chairs' approach of combining more acoustic sounds with harsher industrial tones, and despite its flaws, this release can still be pretty compelling at times. I would like to hear the artist continue to experiment with new techniques and instrumentation. A more stripped down setup would probably be more effective as well. If this album was focused around just two or three elements handled with greater sensitivity then I think it would be more of a success.

Aural Pressure
Talk about a strange name for an act. Another Enough Chairs. What the fuck is that? I've taken to trying to question and decipher hidden meanings given to these weird and wonderful names. Without much success it must be stressed. This is my latest attempt. The artist must have chairs. Lots of chairs. Enough in fact to satisfy any mere mortal. But he wants another. He wants more. Why? Is he expecting a coach load of pensioners on a day trip to Brighton to suddenly turn up at his door? Will they end up standing too close for comfort together without the required seating? The answers are out there. I just can't find them. Perhaps I should email the artist himself to get to the bottom of this name. Then again I won't. The last thing he needs is a fucking weirdo asking fucking weird questions. Some things are best left to the imagination. "Bring that voice to the state" is the third release on the Dead Sea Liner record label. If you've read the other three reviews before this one you'll know that this CDR is value for money. £2.00, including postage, my good man. Better than a trip to Poundstretcher any day. Featuring three tracks and 30+ minutes of music Another Enough Chairs occupies that very strange land called avant folk / noise. Or so the press release would have you believe. Don't trust everything you read. This review is the exception to that rule of course. The 'folk' aspect might put some of you potential buyers off. Well don't. There's no "lets dance round the Maypole and sing about famine and death" crap here. The reviewer at this stage lifts his eyes to the sky in thanks. The 'folk' bit is limited to just some guitar plucking, mouth organ, gentle percussion, tambourine hitting and vocal jiggery pokery. So not really 'folk' then. Instead you, the reader, should fix your beady little eyes onto the 'avant' noise bit. This is where the heart of "Bring that voice to the state" beats loudest. Even that though is a misnomer of sorts. For found within is the kind of music that encompasses drone and early Industrial music along with a fistful of generic freakouts of the improv variety. Doesn't sound so good does it? Oh yea of little faith. We start with the first track. A 9 minute ditty titled... don't know because none of the tracks have titles.. that sounds like Throbbing Gristle having a tea party in an enchanted forest surrounded by chiming fairies who suddenly turn into bad ass motherfuckers armed with electric guitars set to stun. Weird huh? It gets better. Or weirder depending on your point of view. Track two, a 7 minute piece, has an cold ambient feel that is over ridden by badly tuned guitar, mouth organ... not badly tuned, slow thumping percussion and tambourine and vocal disharmony before ending in an electronic spaced out melange. The last track - and the longest - is a 13 minute of 'get down and get with it' drone and feedback kick to the knackersacks. A splendid riff olla incorporating chugging noise, of all varieties, and vocal masturbation... and a suitable mind bending ending, which you need to hear for yourself, to a rather peculiar and somewhat strangely enticing release. "Bring that voice to the state" is a record that, like that fat ugly bird at the disco you recently tongued, you can't help going back to. There's just something about it that begs further encounters and investigation. A very avant-garde, I should have put that in capital letters for better effect, release that isn't off putting in the least. With the last notes still resonating in my ears I now bring this review to a close. Adding as a footnote that the name of the act has still left me confused. Thankfully the music didn't.

Heathen Harvest
It’s In the water. Folk/Noise hybrids have to have insane names. Take Dead Raven Choir / Wolfmanger. Brighton’s “another enough Chairs” decides not only to carry on this virtue, but to take it one step further. Let’s not even start on the project name. How can one have another and enough? Is this the tribute EP to a sufferer of that disease in which the victim can’t make his mind up? Is this in fact music for arranging a wedding, in which no one knows how many guests are there, and cannot decide on seating? Maybe the sultry and acetate undertones will reveal all. Three tracks of untitled mayhem. Shortest track is seven minutes. Fuck Dead Raven Choir though, this is actually enjoyable – and you’re talking to a critic of the “genre”. Track 1 starts off sounding like the bastard son of Skullflower, Coil, and Throbbing Gristle, but with…Wind Chimes! Remember those classic distorted guitars, droning sludge riffs, and feeling of ultra mindfuckery that you got, the first time you listened to “Orange Canyon Mind”? They’re here too – a wonderful explosion of experimental debauchery. Totally unable to find any of the “Folk” elements to this – maybe they’re buried under the mountain of not enough but way too fucking many chairs. Track 2 starts off down the same road, before we get - Drums...and what sounds like someone Sodomizing a Banjo, and a weird injection of Tambourine and random other noises. I guess this is where the “Folk” element makes its appearance. Actually quite a riveting listen – sudden loud blasts of Harmonica make this a memorable track. I certainly haven’t ever heard anything like this, and I doubt I ever, ever will. Some nice incoherent vocals attack us towards the end of this barrage of noise, for noise’s sake. Naturally. Try playing one of Death in June’s recent tracks backwards, at half the usual tempo, and listening to Burning Witch in the background, Might well sound just like this. Anyway, better move on to track 3. I need Ethanol. Valium. Laudanum. Innocent, sober Ears and Brains cannot suffer this. This final effort is 13 minutes of explosive decay. “Bring that Voice to the State”? I think that voice would face the death sentence. A fascinating chaotic aural rant, unlike anything you will ever hear. Impossible to call it good due to the nature of it, but it’s definitely eye-opening and impressive.Recommended to everyone who just wants to hate, scream, or be fucked out of their minds. Try it. Perhaps the more intellectual, thinking mans version of “Rage against the Machine”. I think I’ve had enough chairs. But Give me another! Addictive.

terrascope
A more glacial take on electronic drone can be found on “Bring That Voice To The State-Another Enough Chairs, which is full of groaning underground distortion that slowly collapses into an avalanches of feedback, white noise and echoed madness, and that’s only track one. Track Two is the whirr of mechanical insects poised to attack the planet, a sinister drumbeat and wyrd folk guitar adding a sinister undercurrent to the proceedings. Track three continues where the others left off and then descends into hell, pitting harsh industry against each other, to create an unearthly whole that slowly fades into deep drone splendour.