FEVERER is the solo project of Reid Bateh from BAMBARA. He began recording the Feverer EP when he moved from Georgia to Brooklyn in 2011 with a focus on creating complementary pairs of dreamy ballads and noise compositions. The result is a unique experience that pulls you into a gloomy world with sparse moments of beauty.


The ballads were constructed with a philosophy of restraint. They were originally written on his classical guitar, then fleshed out and recorded on a minimal set up using only his computer’s built in microphone within the confines of his bedroom. Pounding on his desk with his fists to make a distorted backbeat. The self-imposed solitude is apparent in the ballads, evoking a feeling of melancholy while exploring the beautiful grime glinting in the darkness. They are hopeless songs that bring to mind the more sorrowful moments of Elliot Smith, Spiritualized, or Scott Walker. When these ballads are paired with sprawling noises-scapes the world of Feverer becomes whole.


Howling. Hissing. Gurgling. Growling. Shrieking .Pounding. Trains .Factories. Bird calls. Babies.


These are the sounds of Feverer’s other half. The noise compositions of the EP were created using segments of hour-long improv sets in his basement studio which he then arranged and layered into more complete compositions. Similar to Reid’s other experiments with noise (exemplified on BAMBARA’s RINGS EP and DREAMVIOLENCE) Reid created all his sounds live with no pre-recorded tracks, tapes, samples, or computers. His noise-scapes were composed using only his voice (with the exception of the two chord keyboard part on “Grunt”), two microphones and a complex arrangement of simple guitar pedals: delays, tremolos, reverbs, harmonizers and distortions. With these pedals he manipulates his vocals in real-time, directing them out to any combination of three guitar amps all blasting at full volume. The result is a swirling cacophony of voices, harmonizing and distorting against each other in a wall of ugly-ethereal sound.


FEVERER’s live shows have consisted solely of vocal noise improv with the occasional ballad briefly surfacing above the noise then falling back down into the dirge. These live shows offer a unique insight into the creative process of these noise-scapes by allowing the audience to witness it laid bare. The process is a very physical one. Reid crawls around on his knees in a tangle of cables, punching pedals, twisting knobs, unplugging and, replugging, all while continuously grunting and moaning manipulatable transmissions into microphones. Although the movements might appear dramatic, they are based in practicality, acting on the only way to mold his voices fast enough to reflect his fleeting paroxysms. The result is a massive collage of sound alive with hundreds of tiny parts moving under its skin.