Aaron Dilloway’s Lip Syncing to Verme is the best kind of noise experiment: one that constantly turns the listener on his ear. D-way also takes the extra step necessary to extend a noise recording’s worth from “glad-I-checked-it-out-now-to-the-back-of-the-pile-with-you” to “I-find-you-enchanting-and-will-lovingly-place-you-on-the-Favorites-rack.” Side A is like hearing that short story wherein a young girl falls asleep and wakes up packed to the gills with ants (They had climbed into her nose, you see.): I’m creeped the-fugg out and I think something’s buzzing around my skull. I can’t really tell you what’s going on here. Dill could be sampling a pig’s “hoinkle” or diddling the innards of a dusty, hard-to-find Royal typewriter and I’d never know the difference between it and a duck’s fart (though officially my money’s on a piece of luggage being thrown around a room with snare-drum-head walls). And that’s of course the beauty of the whole process: I feel I’m learning by way of knowing it exists.
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