Jim Haynes' latest release, "Inauspicious", arrives like a rusty freight train, clattering with the raw intensity and unpredictable dynamism that has become his signature. This LP, released by Helen Scarsdale, is a visceral exploration of noise and decay, a testament to Haynes' 25-year odyssey into the dark corners of sound art. Yet, as with any seasoned artist, Haynes doesn't just tread old ground; he unearths new layers of meaning and resonance, even if they are covered in rust and debris.

The track on one side, "Variant, Number Fourteen", sets the tone with its brooding power drones and spectral radio transmissions. Haynes, a self-taught clinician of corrosion, draws us into his world where decay is not merely a state but a process, an ongoing unraveling of form and function. The soundscape is a dense, multilayered moiré pattern, overlapping elliptical structures that seem to negate and obfuscate each other. It’s a sonic manifestation of entropy, where the only constant is change, and stability is an illusion.

Listening to this track, one can't help but think of Haynes' fascination with decay. It's as if he's capturing the sound of rust forming, the creak of metal succumbing to time, and the eerie silence that follows. The use of motors, electronics, and shortwave radio creates a hauntingly industrial atmosphere, punctuated by moments of aktionist demolition cast upon metal, glass, and wood. It’s a brutal yet beautiful symphony of destruction and transformation.

Flip the record (or just skip to the other file, if you prefer the digital version) to find "Variant, Number Fifteen", a track which continues this exploration but with a shift towards more controlled aggression. There’s a noticeable focus here, a telescoping of Haynes' research into decay, resulting in a sound that is both more potent and more refined. The track surges and collapses, following an internal logic that snakes through its 20-minute duration. It’s a purge and a pulse, a rupture and a release, encapsulating the chaotic yet methodical nature of Haynes' work.

The post-pandemic shift in Haynes' approach is evident. The tracks are more aggressive, yet there’s a precision to the chaos, a meticulousness to the mayhem. It's as if the pandemic's viral encroachment forced a deeper introspection, leading to a rarification of his sonic elements. The result is a raw, uncompromising exploration of noise that feels both timeless and timely.

"Inauspicious" is not an album for the faint of heart (or maybe it is!): Haynes' use of limited tools—motors, electronics, shortwave radio, and found objects—speaks to his ability to create vast soundscapes with minimal means. It’s a lesson in restraint and intensity, a masterclass in the art of noise.

Ironically, despite its title, "Inauspicious" feels like a significant moment in Haynes' career. It’s an album that captures the essence of his artistic journey, from his early days of visual practices to his current status as a pioneer of industrial noise. It’s a work that resonates with the listener long after the final drone fades, a testament to Haynes' ability to turn decay into something profoundly moving.

In a world obsessed with perfection and polish, "Inauspicious" stands as a bold statement of imperfection and raw beauty. It’s a reminder that decay is not the end but a process of transformation, a journey into the unknown. And in the hands of Jim Haynes, it’s a journey worth taking.