(12.10.07) Wetsound Orchestra is Spyros Polychronopoulos’ third album and debut for
Poeta Negra under the moniker of Spyweirdos and follows several
compilation and two single/EP releases, mostly on Greek labels. Based in
Athens, Polychronopoulos originally recorded under the name Weird
Alchemy and has two albums and a further spattering of compilation
appearances under this name. Now studying a PhD in Acoustics in his
native Greece, Polychronopoulos has worked with the likes of Funckarma,
Alva Noto, Murcof (who has also mastered Wetsound Orchestra), Bernard
Fleischmann, Horchata, Wilt and Larvae amongst others.
One of the first impressions Wetsound Orchestra makes is that the title
is quite fitting; digital glitches and tiny chirps represent slowly
dripping water in a long deserted place throughout the opening track,
the aptly titled “Cellar.” Interestingly, this album has two sides; one
represents modern hi-tech digital electronic composition the other sees
a warmer more organic facet at work, complimenting the tiny digital
clicks and whirs with gentle orchestration and soothing ambient tones.
On one side there is a precise synthetic urgency while, at the same
time, it is counteracted with the organic qualities of strings and
subtle drones. Surprisingly perhaps, the two elements compliment each
other very well, the gentler elements almost providing the soundtrack to
the meticulously constructed micro-electronics, errors and all. The
resultant combination is certainly experimental but at the same time
strangely soothing with the occasional outburst of rhythmic energy
whilst maintaining an air of dark ambience throughout. Polychronopoulos’
music also portrays an air of tension and, enhanced by his use of
strings, this gives his work a certain cinematic quality probably best
illustrated with the jittery yet insistent “Fallen.”
Sampled and manipulated voices from radio or TV provide an occasional
narrative to Polychronopoulos’ music, replacing traditional song
structures with processed, cut-up or distorted speech from other
sources. There is no telling whether his music is based around intricate
glitch electronics augmented with lush ambience or vice versa; “The Key”
never really offers an answer to that question but when the two forms
compliment each other so well there is probably no reason to
over-complicate things. Wetsound Orchestra is definitely experimental
and even abstract at times which means from one viewpoint it is lush and
luxurious but from another dark and possibly quite sinister of intent.
“Innsbruck” illustrates this point well; a low mechanical throb is
accompanied by droning strings and microscopic electronic glitches with
a steady metallic rhythm. When combined the effect is upbeat and
hypnotic whilst maintaining the dark undercurrent that underpins the
theme of the whole album.
For the second disc in the set Polychronopoulos calls on the services of
several remixers, some of whom have already been mentioned, to
reinterpret tracks from the first disc. Alva Noto, Gyro-Gyro and
label-mate Peekay Tayloh all turn in remixes that are fairly true to the
originals and it is left to Traject’s rework of “Innsbruck” to start
mixing things up a little with a dark, abstract and bewilderingly
disturbing remix full of careful deconstructed sounds, buzzes and slow
elastic beats. As you might expect, the Mad EP remix of “3.5 ec” is
suitably playful with a slick fusion of percussive breaks, reversed
vocal snippets and other mischievous tricks. It might not be as dark or
inherently ambient as a majority of remixes on the disc but it inhabits
a warped world of its own. Fleischmann’s remix is typically retro and
simplistic sounding with prominent guitar and a manic pace while
Funckarma mix gentle chimes with crazy fast yet beautifully rounded
beats that give “The Key” a certain weird charm and warmth. Ollie Olsen
also reworks “The Key” but takes the track in a different direction,
layering sound to create determined and his own brand of gently
insistent energy. Octex also opt to maintain much of the identity and
feeling of the original version of “Cellar” but choose to introduce a
bassier, slightly disjointed quality with a relaxed jazz influence. The
Horchata remix the same track meanwhile takes an entirely different
standpoint; their version is more insistent, shadowy and starker, slowly
building in atmosphere and almost disintegrating completely before
rising again.
Greek label Poeta Negra continue to release their own brand of cool
experimental electronic ambience from a range of artists but keep a
close eye on both quality and presentation. All their releases are
impeccably designed with ultra-cool ultra-modern matt sleeves. Often,
the music they release reflects their penchant for slick design and
Wetsound Orchestra is no exception; not only a quality album of original
dark ambient music but also a whole disc of reworked material including
some instantly recognizable names and interesting remixes.
Wetsound Orchestra is out now on Poeta Negra. [Purchase]
