Bennett uses no electronics in his creations and improvisation plays a vital role. This is music that is messy and organic and human. The list of instruments and implements that Bennett uses throughout Spoilage is mind-boggling: everything from various drums to a wheelbarrow, pizza cutter, and 'the narrow part of a balloon' is in play. Considering this, the cacophonous symphony that ensues isn't as out-of-control as one might think. No, this is carefully-constructed from beginning to end, each choice made at the spur of a moment and pushed to extremes. Spoilage is a maximalist exhibition, extorting visceral sounds from the tools at his disposal. Bennett flips back and forth in his song-titles from the specific and mundane to something more universal. All of it, though, is where this music comes from. Personal, political, whatever - it all goes hand-in-hand. The scattered, blown-out percussive blasts could be the bombs falling just as easily as that moment you realize the last bus arrived two minutes early and you were one minute late. Quiet scrapes flicker between gulfs of silence, leaving room for philosophical contemplation or drawing up a reward sign for your stolen bike.
