(04.25.07) Karsten Pflum first came onto the electronica scene in 2003 with releases on the London based Worm Interface. After releases on Jenka Music, Pflum is back with a full length LP on Rump Recordings entitled Idhax. In comparison to his other outings, this latest album was quick in the making; Idhax was created over a winter. But, is that enough time to put an album together?
“Impulse 9” is the first offspring of the LP. The track bellows into being through a current of twisted electronic fragments. Pflum pulls and teases his equipment, elasticising noise and melody to breaking point while subjecting it to experimentation and particles of breaks. Yet, just as everything is crashing down Pflum takes the track aside and injects a soft harmony into the medley. Slow synthesizer keys are exhaled as a friendly beat leads the listener away from the frantic sprawl of the track’s earlier incarnation. Definitely an interesting one to start the record on. Rasps and computer interference ushers in “SV_Gravity.” IDM shards hurtle across a plain of electronics whilst programme shatter vocals are spread. An ominous melody surfaces from Pflum’s creation, before petering out into silence. “Impulse 11” shares elements of its two digit decrease predecessor; scraped and scored computer glitch beats shot through with warm tones.
“Downorder” moves into the arena of sound experimentation. The track is unsettling; Pflum throws tins of distortion over a backdrop of eerie sound as beats crackle and ping. Torn and elongated samples are the shoots of “Fullbright.” The abstract elements of “Draworder” can be seen, but Pflum returns structure; bringing up the beat tempo before letting the track breaks and allowing the melody to take over. Distortion opens “Noclip.” Beats are manipulated while a synthesized string aspect is folded in. Yet, the beats revolt; sending up a machine gun barrage of pelleted drum scratch. Percussion and harmonies are pitched, as both sides send waves over the top in an attempt to gain the upper hand in the track. In the end, there is a stalemate, as Pflum turns the melody into an acid line with flurries of beats on either side.
“Fly,” the shortest piece on the album, is a light digestible number of easy melodies and beats; preparing the listener for the complex “Notarget.” A stodgy bassline starts the penultimate track, as beats congregate and clamber over each other to see what is happening. Pflum toys with the track, allowing it to develop and run itself before bringing back the TB303esque bass and adding some metallic undertones. The album ends with the substantial “God.” The thick corrupted bass of “Notarget” is kept before Pflum assaults with a brigade of bayonet wielding snare rushes. The track is leveled out light chords are introduced before rays of squelch are ran through them. Drum and bass returns, as the beats are fast, sharp and merciless. The track is then stopped, abruptly, for a minute’s silence before abstract sounds lead the album to its end.
Idhax isn’t an album of light, relaxed electronica. There are segments in the album where calm reigns, but there are also areas where chaos is supreme. Pflum has allowed beats to ravage his soundscapes, but has also permitted melodies to do the same. The album is an experiment with computer sound and natural tones; Pflum has blended both areas, and on other occasions ignored both. Idhax is Pflum’s playing, and corrupting, of sound, seeing what can be down to music while keeping some structures. The album is an interesting, sometimes unsettling, but always a creative listen.
Idhax is out now on Rump.
