The beat kicks in now and then, there are moments of ambience sometimes exploding into a driving beat. This just might be a bridge form of music, belonging to beatless space and belonging to the dance floor at the same time.
A wicked display of audio collage artwork
Danger on the side, from a cottage laboratory, a wicked display of audio collage artwork that also brings the dance. Enter from darkness, from within chaos, growing into focus, a sound from the madness always getting closer, sometimes there are voices, and some utterances are almost like voices from the atomic era. The beat kicks in now and then, there are moments of ambience sometimes exploding into a driving beat. This just might be a bridge form of music, belonging to beatless space and belonging to the dance floor at the same time. I am beginning to think that it works inclusively, bringing dance forms towards the ambient listening experience. I hear some conventional instruments buried in electronic wisdom and bold confusion, and often the drums show up and take over for a spell. I must disqualify myself, the dance floor is not my way to relax. Here the throbbing beat works enchants me and I am enjoying the ride.
There is “a place where we can hide” (4:24), deep in a spooky chamber lost in deep shadows. A place where they find alien things that do not wish to be found, today we are testing the gloom with electronic tones. The drums and keyboards make a pact nobody needs to understand, this is catchy stuff! “dearest (fold me in 2)” (3:01) yields voices and brutal electronic scribbles, the drums make a stand and energize the situation until the end of the track. “pending” (3:59) here is where I found those atomic ghosts, the beat remains a dance with doom from the first atomic age, at times a steady beat thickens and takes over. The duck and cover technique would never have saved anyone, it just frightened the surviving schoolchildren with the newest doomsday culture.
Put them all together, “minorThreats” (6:19) are killing. I am loving it, no words yet no beat yet, I feel the doom as it keeps signaling from the outside, from outer space, now here come the beats, the beats take over now, impending, now rising, now drifting. A cold ending. Right on the spot.
Dance with only one leg ::
Next, dance with only one leg. Find the floating pieces in the rain, soon drawn together in the beat patterns. “enough” (6:34) has a moving stop and start pattern, now things are growing more complex. I love collages that can bite and hold on. I tell you secretly that this track has parts that twist my mind out, which is always a hoot. “dearest (cursory)” (3:01) begins creating order from every manner of short fragments, now I think I hear Russian voices, the changing range is strange. Now midway the chaos somehow turns into a space drift and temperatures slow and flow hot and cold up and down back and forth, if you notice that sort of thing. “dearest” (4:09) brings the same title with a very different feeling, slower with dreamy piano and strings, I hear sleepy voices that are not like my ear’s tongue, I have no idea what they are saying and that adds to the feeling of strange bittersweet pleasure. And now the beat moves in and drifts away towards the end of the track, I feel a good pulse.
“fake poetry” (2:32) starts with beats, bump babump bump babump, melodic glimmers that are short but always arresting, very extraordinary. I hear distorted voice fragments hidden deep within the beats. Next, slow it way down and “rest” (3:28), drifting along with odd birds calling from time to time.
LPF12 is a solo-project by German artist Sascha Lemon, creating cinematic electronica.
minorThreats is available on Bandcamp.
