Devin Sarno originally began recording & performing under the name “CRIB” in 1990 as a solo bass sound project focusing on improvised subsonics. Over time, this music evolved from high volume feedback experimentation to a sonic examination of the meditative properties of low-end drone music. Inspired by the unexpected nature of everyday ambience as well as the value of silence, Sarno’s sound work embraces the subtle and atmospheric.
Sarno has toured both coasts of the United States and shared concert bills and/or collaborated with artists such as: Thurston Moore, Nels Cline, Vincent Gallo, Joe Baiza, Mike Watt, Charles Gayle, Z’EV, Foetus, Lydia Lunch, Merzbow, Borbetomagus, G.E. Stinson, Blonde Redhead, Pauline Oliveros, Masonna, Ben Harper, Ken Vandermark, Petra Haden, Gus Gus, William Hooker, Kato Hideki, Carla Bozulich, White Out, Ang Wilson, Randy Randall, Tim Biskup, Elaine Carey & many others.
In recent years, Sarno’s compositions have been featured in numerous commercial & short film projects that have been screened at renowned venues such as the Toronto & Venice Film Festivals and broadcast on network television (Bravo, CBS) as well as featured on the NYC Times Square Jumbotron.
“A rich and genuinely beautiful music. If, on one hand, this sound is one of foreboding, its resonance, on the other, is deeply seductive.” – Motion UK
“Focus for even a minute on his sounds and you’ll be sidetracked into an alternative state that most of us want, but few search for. A transcendent outpouring of angelic noise.” – LA Weekly
“[This music] wells up with levels of understated melody somewhat beyond what occurred in any of Sarno’s previous recordings. There is a pleasurably prehistoric and alien sensation to all this & its dual physical/intellectual capacities reward repeated listening. It’s philosophy as much as music. Call ‘em bass drones, or call ‘em solemn distant orchestras or surf at low tide or ghost airplanes, the sounds of Devin Sarno create a uterine environment that houses the possibilities of birth — he presents the inward view of navel culture.” – LA Weekly
“It’s contemporary classical music with an indie rock sensibility and will find fans in folks who grew up digging noise bands but are looking for something a bit more beautiful to trip out on in adulthood. Sarno makes his four-string sound like a chorus of vintage synths, whereby layers of Eno-esque tension are left to drone on unresolved. Ironically, for all its complexity, this is actually pretty accessible stuff.” – Rolling Stone.com
“Somambulant and spacious…all improvised but with an unerringly exact ear for minute sonic detail.” – The Wire (UK)
“Sarno has unleashed his most accomplished work to date…meticulously forming a subdued, yet menacing atmosphere.” – CMJ Magazine
“Endless layers of intoxicating audio drives the listeners concentration ever further into the music to seek out the melodies that crawl beneath the droning.” – XLR8R Magazine
“Positively timeless. Like field recordings of the Earth itself.” – Metroland
"Awe inspiring." – Acts of Silence
“An impressive experience.” – Alternative Press
“Mesmerising dronescapes.” – Bass Player Magazine
“Deep spacious drone.” – Time Out NY