‘Scrapes’, featuring fellow New Yorker ELUCID of Armand Hammer spitting stream-of-consciousness atop a vacant Béla Tarr-esque loop of chimes and bass wobbles: “The jazz is free, the noise is love/ You wear me out, I drag my tongue". Tracks like ‘Hell Juice’ float over minimal backdrops of subdued pulses and monochrome ambience. Productions from King Vision Ultra (plus guests Ahwlee, D00F, and Nick Hakim) seem buoyed by dreamy vapour, grinding along through greying streets every bit as hostile to them as they were the likes of Mobb Depp decades back now. Never has NY hip hop been as dark, brooding, or fatigued as it is on the An Unknown Infinite, recorded between January and August of this year, thematically woke, but sonically half asleep. Whatever happens, the upheaval of 2020 feels like a world finally – perhaps, terminally – changing, and Amani & King Vision Ultra might well be the poets for this very American moment. When it comes to changing the world, James Baldwin said “perhaps it can’t be done without the poet”. Instead, tracks like ‘Opus 4 Dream In Black On Black’, with its polyphony of delicate arpeggios, echoey percussion and creaks and squeaks, or the diverging polyrhythms, whistles and windswept pads of ‘Opus 7: Roar’ seem to always sit in states of uneasy equilibrium, coming across as interdependent systems however surprising some of the components might be.ĭaryl Worthington An Unknown Infinite by AMANI + KING VISION ULTRA The compositions are disorderly but never chaotic. However, there’s a playfulness to Dobrovolski’s selection and placement of sound that gives his music a unique sense of being alive. It creates a slowing down effect, affording more time to contemplate the array of synths, processed acoustic instruments and field recordings that seem to have grown around you.Īt times, the sonics bring to mind Laurie Spiegel’s most open-ended explorations of space, structure and texture, or the long form sound experiments of Roland Kayn and Akos Rozmann. Largely avoiding obvious pulses and rhythms, the seven Opuses on Natursymphony No.1 float around you instead of being dragged past by a central driving force. Hot on the heels of Felicity Mangan’s Creepy Crawly, sparse techno made from bird calls both real and artificial, comes Vlad Dobrovolski’s new work, described as an attempt to create "musical ecosystems". The Slovakian headquartered Mappa label is carving something of a niche in electronic music deeply tethered to both organic and synthesised environments.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |