Jason Lescalleet's Due Process
'Combine XIX, XX' LP
A gorgeous LP of two new compositions by Jason Lescalleet, with sounds taken from his collaborative performances with Ron Lessard as Due Process.[...]An album that really shows off Lescalleet's dramatic and violent side, very tense and raw sounding. The cover is handscreened with four overlaying layers, each one unique. Really handsome, and (of course) quite limited. Grab it now, while you can!-
Howard Stelzer (Intransitive Recordings)
For the past 20 odd years, Lowell's legendary noise auteur Ron Lessard has been doing collaborative projects with a variety of different musicians using the name Due Process. In the current live manifestation, Due Process is Lessard on his trademark quad-tonearm turntable, video artist Walter Wright providing visuals and tape loop virtuoso Jason Lescalleet. Always a formidable act, the current groups records have never reached the same peaks of utter overwhelming sonic power that they routinely acheive in concert. With the latest recording, this version of Due Process finally has a recording that matches the power of their live sets, something of a paradox. Lescalleet is the star of the show here - a fact underscored by the listing of the group name as "Jason Lescalleet's Due Process" on the album sleeve. It is Lescalleet's impeccable skills in the studio (check out his other recordings for further proof) that are spotlighted here, as he edits and recombines excerpts of Due Process' live shows to create two monstrously compelling, extended pieces using Lessard's dense noise screen and his owndull, richly textured roar. Immense.-
Susanna Bolle Boston's Weekly Dig (4/9/03)
Jason Lescalleet -mattresslessness
Due Process
New Englander Jason Lescalleet is no snob. From broken micropnones and clapped -out cassette recorders to computers, he'll use anything that gets him the sounds he wants. Thus Mattresslessness, his first solo Cd, and the Due Process LP land on so many different islands in the sea of noise that they're best taken one track (or side) at a time. Looking first at the CD "Ambidextrous and Half Japan-ese" opens with stealth and cruelty, with a low hum that yields to tympanum-tormenting high tones that are in turn overtaken by the sullen grind of distant industry. The subsequent track "Underscore", which is a deftly choreographed dance of electronis crackles, is much easier on my ears. Initially "Clay Tapes" stays the static course, but the crackle is briskly supplanted by the patter of out of synch loops. Then "Straight No Chaser" puts the drill bit to the metal with sufficientvigor to make you grind your teeth to dust. And so it goes, veering between inviting and invasive sound; I'm glad to have heard it, though I don't know how often I'll play it. Due Process is both more demanding and, when you get to the good stuff, more appealing. Demanding because you have to commit to a side at a time, unless you're the restless sort who is prone to picking the needle up and putting it down. Rewarding because the sounds and more densely and artfully deployed. The record veers between inscrutable musique concrete that'd sound right inserted in some art movie and an environmental recording that situates you in some marshy flats that separate busily humming factories. - Bill Meyer Signal to Noise #