01. Bridge Rectifier
03. Full Relay
07. A/D Unit
08. Pivot Cycle
Recorded August 2000 to October 2001
Omit is the nom de plume for Clinton Williams, an electronic musician who has been quietly toiling in New Zealand for a good portion of the past two decades. His work has appeared alongside such luminaries of the NZ free noise community as Birchville Cat Motel, The Dead C, Flies Inside The Sun, Dean Roberts, Surface Of The Earth, etc.; however, Omit’s home-spun constructs widely detour from the sculpted grit and mottled distortion found in the work of his countrymen and -women. In listening to his masterful Quad (a 3CD opus released in 1998 through Corpus Hermeticum), one gets the very palpable sense of an artist in a contentious argument with his own unwieldy mousetrap of tape-loops, modular electronics, effects pedals, drum machines, and the creaking sounds of his house. That internal debate with himself through his machine exudes an existential melancholy, which could be applied to any number of grander metaphors of the dependency of electronics, cybernetics, and technology upon mankind. (The Helen Scarsdale Agency)
Under the name Omit, New Zealander Clinton Wilson has been releasing quirky electronic material since the late 1980s. Rejector is a proper CD reissue of a CD-Rom that originally came out on Wilson’s own Sysecular label, and like Omit’s other works, it consists of abstract electronic sounds created with tape loops, homemade analog synthesizers, and various effects. The CD has a mysterious tone to it, with strange rhythm loops of pulses, clicks and beeps; droning synth tones; and other strange sounds — from the crunching noises in « Timer-run, » to the distorted vocal loop on « NanoPut. » One could compare it to 1970’s German electronic musicians like Conrad Schnitzler; or to the post-industrial sounds of Nurse With Wound; or even to contemporaries like Stimulus and Irr. App. Ext., but that doesn’t really do justice to Omit’s originality. The music is creepy and desolate, and at times claustrophobic, as it paints bleak sound-scapes that are both futuristic and primitive. Rejector is one of Omit’s more focused efforts, with clearer sound, more rhythmic components, and less abstract meandering, but this only strengthens the dark beauty of the music. (Rolf Semprebon, All Music Guide)
De l’Estonie de Galaktlan à la Nouvelle-Zélande de Clinton Williams, il n’y a qu’un pas. Là encore, une démarche singulière à l’abri des grands axes de circulation. Mais ce sera bien le seul point de contact entre les deux disques.
Un des meilleurs albums d’Omit sur Corpus Hermeticum s’intitulait Interior Desolation, tout un programme. Une musique archaïque entre autarcie et autisme, limite déprimante mais infiniment personnelle. Ne reste plus qu’à espérer que le remarquable label Helen Scarsdale Agency continue sa politique de réédition de l’oeuvre trop secrète du bonhomme.