Pall by Accent Wall
Three movements. For six electric guitars and one electric bass guitar. Written by Aaron Waesche. Conceived of in 2021. Recorded 2024.
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An explanation of Pall:
After promising a return to its noise rock roots, Accent Wall has uprooted and chopped them, mulched them, and spread them into the fertile ground of ever-expanding “guitar music.” Can it still be called “noise rock” without percussive elements? Do we equate “rock” with “drum” and “noise” to “guitar”? Or are they interchangeable? Surely this primitive simile is of little concern to Accent Wall? Mendacity! Preparations have been made to evolve said “noise rock” in the year 2025, because what does “noise rock” of the “future” sound like? Or perhaps the real question in need of exploration: once a genre of music comes into existence, can it ever cease to exist? Will Accent Wall discover that it can? Let us table this discussion until next year.
In the meantime, we have Pall to attend to. There are many definitions of the word Pall, and these can only be met with questions:
One. Perhaps it is no mistake that Pall was conceived of in the soot city of Pittsburgh near the banks of the Monongahela. Could the tone of this piece have been summoned elsewhere?
Two. Perhaps Accent Wall’s ever-expanding roster of guitars will cause a dulling, wearisome, or boring effect? Will the appearance of more guitars cause them to lose strength or effectiveness? Have you become satiated by these writings and now find them deprived of pleasure?
Three. A cloth may signify death. But could it, at the same time, bring comfort to the deceased? Let us only hope. This movement is dedicated to the young dead.
You may find the answers to these questions in the corresponding movements of Accent Wall’s Pall. You may not.
