Jeph Jerman - Worked PaperDebris

aleksandracichuta

Review by Aleksandra Cichuta

Album Review: Worked Paper Debris by Jeph Jerman Jeph Jerman’s Worked Paper Debris is one of those albums that sneaks up on you. Released in 2014 under his own label (because who needs the big guys anyway?), this experimental electronic record feels more like an auditory excavation than a typical album. It’s raw, unpolished, and deeply textured—kind of like finding beauty in the chaos of a junkyard. And honestly? That’s what makes it stick. The album dives headfirst into the experimental genre, but don’t expect anything conventional here. Tracks like “Debris Two” and “Debris One (A)” stand out for their ability to evoke vivid imagery without leaning on traditional melodies or beats. “Debris Two,” for instance, feels like eavesdropping on a conversation between old machinery and wind chimes. There’s this constant push-and-pull between metallic clinks and soft, almost ghostly hums. You can practically hear the rust forming as the track progresses—it’s haunting, but in the best way possible. Then there’s “Debris One (A),” which hits differently. This one opens with these glitchy, stuttering sounds that feel like your speakers are having a meltdown. But instead of being annoying, it’s oddly hypnotic. The layers build slowly, introducing faint whispers and crackles that sound like they were recorded in some forgotten corner of the world. It’s the kind of track that makes you stop whatever you’re doing and just listen. By the end, you’re not entirely sure what just happened—but you know it mattered. What’s wild about Worked Paper Debris is how it refuses to be background music. Every track demands attention, even if it’s just to figure out what exactly you’re hearing. Jerman seems to thrive in this space where sound becomes tactile, almost physical. Listening to this album feels less like pressing play and more like stepping into someone else’s strange, intricate art installation. If I had to sum it up, I’d say Worked Paper Debris isn’t for everyone—and that’s totally okay. It’s the kind of project that probably didn’t care much about appealing to the masses anyway. But if you’re into music that challenges you, that makes you think and feel at the same time, this one’s worth a spin. Oh, and here’s the kicker: after listening to this album, I started noticing little noises around my house—the creak of a door, the buzz of a fridge—and appreciating them in a whole new way. Maybe that’s Jerman’s secret genius: making you realize that debris, whether literal or sonic, has its own weird kind of beauty.

Download Jeph Jerman - Worked PaperDebris
Artist: Jeph Jerman
Album: Worked PaperDebris
Rating: 5.0

Table of Contents

Download

Filename: jeph-jerman-worked-paperdebris.zip
  • MP3 size: 16.2 mb
  • FLAC size: 168.6 mb

Tracks

TrackDurationPreview
Debris One (A)19:58
Debris Three30:16
Debris Two20:02

Images

Album herunterladen Jeph Jerman - Worked PaperDebris

Labels

Not On Label (Jeph Jerman Self-released)

Listen online

  • lyssna på nätet
  • escuchar en línea
  • ascolta in linea
  • kuunnella verkossa
  • ouvir online
  • écouter en ligne
  • online luisteren
  • online anhören
  • lytte på nettet

Formats

  • CDr
  • Limited Edition
  • Book

Notes

  • Track 1 constructed from unused portions of old field recordings: mistakes, tape or machine malfunctions, poor edits, wind noise etc.
  • Track 2 4 tracked loops of the sounds of tape machine malfunctions and a prinitive [sic] recording device.
  • Track 3 sounds of old tape machines: reel to reel, micro and mini cassette recorders, speaker crackle and turntable.
  • To accompany the book "Worked Paper"
  • Cover image is a photo of a weathered photograph.
  • Hand numbered edition of 30 copies.

About Jeph Jerman

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Born January 16, 1959 Agana, Guam. "In 1986 I began recording and performing under the name Hands To. Most of the early soundwork was sampler and tape loop based, though over the course of ten years it evolved into using environmental recordings with very little to no manipulation or electronic processing. In 1996 in Seattle I embarked upon a weekly series of concerts at Anomalous Records which brought me into contact with the city's improvised music community. For the next three years I played with anyone who would have me. During this time I began giving solo performances using only natural found objects (stones, shells, bones, driftwood, pine cones, etc), as soundmakers, a practice which continues to today. Eventually I stopped using the name Hands To. In 1999, the Animist Orchestra was founded. The AO focuses on making music that hopefully bypasses our individual egos. Most of my previous work could be interpreted as being 'idea-based'. I find that most of my work nowadays is sound-based. I believe this is due to my growing interest in listening, in what happens when one listens, and my concomitant disinterest in contextualizing sound." - Jeph Jerman

Name Vars

  • J Jerman
  • J. Jerman
  • J.Jerman
  • JJ
  • Jarman
  • Jeph
  • Jerman

Aliases

  • Hands To
  • Big Body Parts

Interesting fact about Album

Here’s a cool fact: Jeph Jerman’s album *Worked Paper Debris* is a wild ride of experimental electronic sounds. Released in 2014, it’s self-released under his own label. The tracks—like "Debris Two" and "Debris One (A)"—feel like listening to the chaos of everyday life turned into music. It’s raw, unique, and totally unfiltered. If you’re into stuff that breaks the mold, this one’s for you.