Quite minimalistic in its nature and dilapidated too. Almost as if you’d be playing around with some textures and decided you’d go with the ones with least quality, or at least trying to blur them out. I’ll have to see if this basic concept reflects the music or not. But somehow I like it in it’s non-zoomed in state, it looks harmonic and the somewhat greenish, white and black blend together pretty well. It almost seems like there are some figures that you’d find by staring at an object for too long which happens with this cover as well. The cover is probably influenced by the fact that it’s the first EP he’s made since he started out under the name Hanetration. So, let’s move on and see how well the cover reflects the music. I’d be suspecting some noisy music, maybe a little bit glitchy by seeing the cover. Something in the same sphere as IDM.
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The first track Rex starts off with a sped-up sample of someone speaking in the Spanish language, together with flutes and a sound scape that seem to pour into different sections. As if you’d be rewinding a propaganda-tape but at the same time trying to take different paths into the human soul. Synthesizers that find them self pulsating in tone with a more mechanical sound, trying to pour themselves different rivulet-passages. In combination with the mildly annoying tape (by now), you find that your sense is focusing more on the grainy background than anything. The outdrawn sample of the same propaganda tape, or whatever it could be, make its endeavor more and more unnoticed throughout the track. Swooshing by comes a piano and then the mechanical noise disappears for a second, as if it found somewhere better to lay around, in the murky waters of another brook maybe. When I come to think of it, the track is pretty sinister in one aspect, and that is as if the outdrawn sample represents some kind of torture or hard work. By the means of the sound scape, which makes it more and more unbearable to handle the longer in you get. A pretty monotonous piece at that, with a constant flow of different particles getting filtered through and texturing themselves into one of those dreamy arpeggio-like synthesizers. Waltzing along comes the mechanical sound, which by the end, looses it’s firm hold around the neck of the poor man that’s talking in reverse all the way through. Returning in a different shape in the end, but maintaining the sinister sound of: you don’t want to go there.
Transgressing into the second passage, which is the song Alarm. This is the sound before the real storm, when things have calmed down and are more forgiving. Enter the realm of total divinity and spirituality alike, where the synthesizers one by one march into the dreamy state we once heard in the first song. Keeping it that way until a piano embarks on its own journey throughout the sound scape, scaling into a bigger element. As if we’d be under icy water, looking for a hole to get up and save ourselves with. Something is being found at least or heard in the distance, as the aquatic landscape continually flow in a stream between consciousness and unconsciousness. Maybe the tweaked piano is a call for help, or maybe it’s just a savior somewhere in the midst of the calm but manically-inducing aquatic theme. Actually a better song than the first, since the combination between the elements do not become unbearable to say the least, but then again; this track may be the intermission in between the two more sinister landscapes. By now, I have realized that it may have some kind of thematic attached to it. The first one being above ground and the second one being under water. The last we hear from is some percussion trying to poke a hole to the bubble that’s floating deep beneath the calm blue sea. This experience got enhanced the further in it got, but never lost the stream of both accepting a fate and dealing with another at the same time.
Start to loop, because we’re back there again. Like a vinyl-record on repeat, the third song Rufus starts with a tape or a vinyl-player that have been left unattended with a dusty record for ages. Earning a scratch or two on it, forcing it into an endless state of looping over and over again. The difference between this song and the others, is that this one have somewhat of a folk-sound attached to it. An unattended sphere of folkish delight just waiting to get harvested, with some kind of violin or brass-instrument occupying the space of the sound scape. Outdrawn and long lengthen, dragging everyone within the loop of the tape. A destiny so horrid that nobody would want to even explore it, since it would be so deplorably boring to re-live a moment or memory for the rest of your life. Going on repeat, as some people say. Imagine those long days when you have nothing to do, walking around the town with nothing in mind and fixating your eyes on objects you’d never see. The misery you see, is channeled into this song. Different mechanics working together, to bring you the artificial joy of mechanized traveling and shopping. Mindlessly walking around like a zombie in the corporate world, no woods left, no ponds left and no beauty. Only ugliness and people learning since birth what they should say, do and how they should talk. Almost like materialism embodied, or globalism for that matter, or even the corporate world sinking one ship in the fastest pace possible. Ruining good memories, exploiting good people and sending them to rot. It also sounds like someone is sharpening something in the background, and that the people of the world have found their last scapegoat, as if the murmuring sound in the background represents people talking behind the back of him. He walks to his final destiny, where the atavistic methods have been utilized once again. In brutality, he thinks. But they say nothing and continue to deem him as a traitor to their cause. To them it’s humanity, to him it’s brutality. As the violin starts to play out of tune, you’d know that the song is slowly moving towards it’s end. I like the lo-fi sound scape and the fact that this song is about as good as the second, to envision images that fly into your head. Ending with a monotonous stream of flanged synthesizer going into lo-fi mode, the end. Also the longest song of the four on this EP, about two minutes longer than the average song. This is a miserable tune for a miserable world, pretty cruel but understandable as a sound scape. Kodus.
Now you’d think the pain would be over since he’s already gone. You’re wrong. In the fourth song Wreck, the ghastly voices of the past grip him as fast as they can. It sounds like a prison-cell with many levels and people who are doomed after their death to serve the people as their servants. Whereas they moan in grief and unending agony, but you’re the only one hearing it. You’re the listener that have to endure this pain that can be felt if you’d have the slightest imagination. The clanky sound in the background sounds like someone carefully managing a sledgehammer, only to hit the steel with the hardest blow he’ll ever make. In turns, they take the sledgehammer and wield it to deal a nasty blow to the chains they’re forever wearing. As if they’d try to get out in this lifetime. Truly stunning track that’s almost too haunted for me to continue listening to, but bear in mind, I’m reviewing it and it’s certainly good when you get an experience out of the ordinary and this is one of those experiences. Managing to play with all the cruel, sinister, manically, depressing and melancholic elements. Almost turning it over to an industrial song, but it’s still far away from that genre. It’s almost as if all the subjects that have been taken up and all the sound scapes that I’ve flown through are all embodied in this song all-together. A good song to have in the end, as the last sound of it sounds like a beating heart until it stops beating. Generally a repetitive and monotonous one, but the textures that overlap and the more complex sound scape that work in harmony with all the instruments that are carefully placed makes up for that part a little bit. Even though I’d love to hear more complex sound scapes in the future but this is a promising record.
Favorite track: Alarm
The final verdict is 6/10.
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