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Album Review

Pimmon's take on pop music sounds like an incredibly dirty but not yet skipping CD at times and a fading radio station other times, and is wholly engaging all the time. Pimmon has mentioned that pop music recordings were used as the foundation for the album but they've been manipulated well past recognition. It's all right to forget where these sounds come from, since Snaps Crackles Pops works just fine without the back story. Pimmon takes great care when constructing the pieces, giving each piece a definite foundation for the chaotic noises and dissonant melodies to flow through. Air hockey tables, bagpipes, and Pimmon's own children on a Korg MS20 synthesizer provide some of the more identifiable moments in an otherwise otherworldly sounding album. The stuttering "Frosty Pink" and downright hypnotic "Over the Black Dot" provide some of the more musical moments, and the laptop sound that has been so identifiable on glitch recordings is fairly transparent. You could swear he's relying on an old-school digital delay, making the album feel like If, Bwana and Christian Marclay's more subdued moments. It ends up being one of the more mature and approachable releases from Tigerbeat6.


Formed: 05 December 1964

Genre: Electronic

Years Active: '90s, '00s

The folded and chopped, glitchy ambient of Sydney, Australia's Paul Gough and his Pimmon project can be traced back to a mid-'80s obsession with Severed Heads and a self-released cassette packaged in a mangled safety boot wrapped in plastic. Raising a family in the suburbs of Sydney, Gough found work as a senior engineer for a popular radio station but continued creating experimental laptop electronica in his home studio. After the non-response to his first cassette, Gough sat on his recordings at...
Full bio
Snaps*Crackles*Pops, Pimmon
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