Some time ago TSTI had his third album released, or second if you don’t count “Evaluated: An Album Of Remixes“. German-based Basic Unit Productions have gotten the pleasure to release “Endings” – which is the apt title of the release. Other Voices Records have also gotten their share of it and have released a limited edition cassette of it. We’ve had the possibility of listening to a few of the demos before this was released and they sounded promising, as does his whole discography. The aesthetics of the release are industrial and very cut and paste, not really anything we enjoy at all, and the first album “Evaluations” looked more alluring visually.
The album clocks in at around thirty-six minutes in total. So let’s get into what this album has to offer in its entirety, by doing a track-by-track review of it.
“Things I Would Do” is a special kind of song when it comes to the atmosphere, right from the start there is an inviting kind of mystic vibe over it but at the same time an assertive industrial sound to it. We’re not really fans of the processed vocals at all but the lyrics in this song are simple but add a catchy melodious tone to an – at first – deserted landscape. The favorite part comes forth in the build-up until the chorus and the chorus itself, as they both pack a melodious punch which is remindable and emotional. It lurks in the background and comes out in full bloom together with the drum beats and snaredrum, which later on forms a stunning introductory to a hopefully, equally as great album.
We’ve been fortunate enough to hear the craftsman, S. Smith, create this marvelous tune step-by-step until it finally was released on Basic Unit Productions. Even though the fondness of the demo-version of this song have caught on, his stamp throughout it makes for a more bombastic and impactful experience.
“Naïveté (feat. Jennifer Touch)” is a lot more pop-influenced then the first one, but he stays true to himself and his sound, which allows for a heavier side to take place amongst the cheesier vibes of the flute and the melody itself. It is not necessarily the build-up and climax of the song which is interesting, but rather the dissective nature of the downbeat melodies that are produced in between – giving it a whole atmosphere instead of a half one. We don’t think “Jennifer Touch” adds anything that gives this song momentum, or a different characteristic, which is probably not what was meant – but as a collaborative effort it is stale. The instruments and rhythm are more interesting here then the synthesizers for the most part, as they are more complex and add more to the song overall.
The slower nature of “Sincerity” allows S. Smith to build up a better atmosphere then in any of the other songs, this one crushes totally in terms of the synthesizers vibrancy and the emotional delivery of his vocals. It is almost like an anthemic ballad in of itself and layer upon layer of instrumentation cut right through and form the shape of a transgression between straight-forward synth-pop and ambient music. A very nice addition which sprawls from his old sound and new, to connect and make something greater then all of that. Too bad that he underestimates this kind of touch with his other songs, whom are more industrial in nature, but not in the crafty kind of way – because they build upon a foundation of synth-pop – instead of a transgressiveness between severeal genres.
It is a dreamy song and we drear the end of it, which comes at a too fast pace unfortunately. Even though it is the slowest song yet, but at the time it is allowed to brood and deliver chord upon chord of nicely laden synthesized beauty – is precisely the reason why one ought to check out TSTI in his new form.
“Forgive Me” catch elements of the previous song and have also been featured on Repartiseraren’s own compilation “Whoever Am I”, long before release. It is noticeable how Sid’s (from Schwefelgelb) mastering have affected the song, because it is somewhat different from Zarkoff (who mixed the re-mastered compilation) – so it is very intriguing to hear how different characteristics, in terms of mastering – can be heard in the end product. Since we have a special bond to this song in terms of nostalgia itself, it is hard to not have a personal connection to the song itself, but it lacks in momentum although it is picked together quite good through the atmosphere of the song itself. There is never a dull moment and around the corner there’s a whole different interpretation in itself.
The song has very different characteristics throughout, which is what ultimately makes it different as well as fitting at the same time. Everything runs like clockwork and the time never stops until S. Smith cares to do it himself, by ending on a high note. It’s a very classy song in terms of tone and clarity, where the repetetive lyrics play an integral role to it moving forward at all.
“Strange Times” really catches one off-guard. Damn, the first melody is a work of art in itself and from there and on you can’t turn the song off. Had S.U.R.V.I.V.E moved in a different way and taken the help of S. Smith – this is how it would sound like. There’s a certain niceness about the mysticism in the song itself, the sweet touches of synthesizers and not-too-industrial beats make this outstanding synth-pop music. By now, had it been some other album, it probably would’ve dulled off by now. Here’s the part where musicians fall short, oftentimes, if they have an album that goes on for as many songs as “Endings” does. The samples that can also be heard but in another form, on “Naïveté (feat. Jennifer Touch)” take a step into informing the listener – rather then shake the world together with beats.
It is good to hear how the first melody is expanded in the end and clangs out like it should’ve. Not that we’ve heard this song before, but because it is just what is supposed to happen – it is the destiny of this song.
“To Visit You Again” is metaphorically speaking the most emotional song so far. Both in message and sound. The longing, the outdrawn beats that scrape against the soundscape and the desperation in the atmosphere that lunge towards you in an instant. It draws upon mutated choirs that between added effects and from high to low notes, add a nicely angelic touch to an otherwise doom and gloom song. It is also the only instrumental song on the whole album. Which is a pleasure to listen through. The repetetiveness of it doesn’t bother at all because it is inventive and make use of the different small touches added to the whole totality of sound. When “Flatter Me” comes on, it is obvious that it is a direct continuation of the aforementioned instrumental song. They share many of the same ambitions in being emotionally touching and direct, together with impervious melodies that never stagnate.
Here though, the melodies are taken into a different direction which both touch upon these elements and create a whole other atmosphere – the intangible nature of TSTI’s sound is one of his strengths. All of a sudden everything is downhill and from there it goes uphill, the emotions come crashing down and the beats develop intensity as they shift from rhythm to rhythm. Very flattering of him to do so.
“R.A.S.” never hits home but at the same time does. It is a song filled with paradoxical sound production, with melodies that sound oriental at times and the complete opposite. There’s a shyness and awkwardness about it as a whole, as if he doesn’t want it to bloom out completely – as he holds it even closer. He shapes and unshape things, from rhythms that don’t really make sense to beats that almost put the synthesizer’s wonderful soundscaping out of play. Maybe it is the complete destruction of everything, the ending as it is, even though this certainly isn’t his last contribution in terms of sound as TSTI.
Unfortunately, the remixes of “Things I Would Do“, by Hante and Ssleeping desiresS don’t do the original justice. It is much better and their versions of it aren’t up to par with it, and it doesn’t even create anything tangible from the perspective of making a new version, or something that could possibly stand out in any way, in terms of musicianship.
The album as a whole is a decent thing to listen to. It might even be better then that, though some things are hit and miss – but when it comes down to it, TSTI hones his old sound and develops something new – not necessarily breaking everything down and making the outcome dull and boring. Listen to it in whole down below.