Such is the case with Moonlight In Vermont, which I'd love to say ranks among his best stuff if I could legitimately claim to have a decent handle on his catalogue. But KFW sez so, and I don't think you want to argue with that. Apparently this album has floated around as a CD-R since 2004, and was slated to get a Hanson matrix number at some point, but instead it's Emil's Ecstatic Peace debut, complete with one-of-a-kind Emil-made covers - you can see 272 of them here. Mine (see image above) is an excellent magik-markered defacing of an album of John F. Kennedy speeches (see orignal to the right). Individual covers are always a great idea, but even cooler w/this rec because Emil certainly put as much care and craft into Moonlight in Vermont's array of sounds and sequences as he did into each of the 300 covers.
There's nothing world-changingly new about what Emil's doing here, but that's kinda what makes it great - it's just pure, workman-like noise, way less concerned with being different than being thick, detailed, textured, interesting, and basically unbeatable. Each of the eight tracks pulls a subset of sounds from Emil's array of searing strikes, depth-charge bombings, sandpaper tears, high-end screeches, and more, then lines them up into shapes and patterns that sometimes attack, sometimes drift, sometimes bounce, sometimes even swell. If you wanna get classical about it, there's both a Non tint to Emil's rhythmic cutting, and a Merzbow smell to the burning tone of the noise, but I also hear some of what Carlos Giffoni's been doing lately, at least in terms of arrangement and sequencing. It's the way both CG and EB structure their noises into vaguely song-like skeletons without getting montonous or predictable, and still hang onto the essential abrasion and urgency of their noises. Those are pretty standard comparisons, but hopefully that's less about my lack of imagination than it is about Emil's ability to make great shit out of pretty familiar sounds.
The track below is a good, succinct example: traces of feedback and distortion spin around each other in smoky rings, until a surreal sub-beat emerges through the natural waves of Emil's brain-shaking discharges. I especially dig how this track (and others on the rec) can start to sound like a locked groove, an infinite loop of the same simple noise, yet just pay a little more attention and you can hear Emil's subtle variances and organic modifications adding density and color without calling attention to themselves, like an image photocopied over and over until its repetitive shapes slowly blur into abstraction.