(11.25.05) Tape’s latest release, Rideau, is what I call an art-band record. This is not necessarily a bad thing, since I consider music made by the likes of Tortoise, Stereolab, and even much of Radiohead’s work to fall under that same category. Not quite outré enough to be considered fully experimental, but often touching the fringes of experimentation.
Comprised of Andreas Berthling, Johan Berthling, and Tomas Hallonsten, Tape is a trio based out of Stockholm. It is fitting that a trio would make music such as one finds on Rideau. It feels geometric. The triangular unit’s compositions are like Bach fugues Crockett Johnson paintings.
They are also enchanting, as in from the Latin root incantre: to utter an incantation, cast a spell. A sense of this incantation is evoked in the reverent tone and methodical manner in which each track develops. In the seventies they might have dubbed it prog-rock. But if Dark Side of the Moon was a landmark because of its unique or mesmerizing style (perhaps the by-product of drugs taken while one listened), Rideau is masterful because of its complexity, exceptional musicians, and high production value.
Nothing here seems unnecessary or incongruous. It is tight and well-structured, however, it also still somehow retains a feeling of spontaneity, perhaps the result of those exceptional accidents true works of art benefit from. There are possibilities within these austere pieces, rich territory for improvisation and re-interpretation in a live setting. Upon repeated listening to the disc, each track reveals new elements and tones. It seems to evolve, inviting one to explore the variety of instrumentation and structures. To use an over-worked but apt phrase, it is a thoughtful and thought-provoking recording.
Rideau is out now on Häpna.
- ((( Buy it at Amazon.com)))
- Häpna
- Tape
