(05.01.07) Finn McNicholas, aka Ultre, has recently put out his first full length
release. McNicholas has been involved in visual work with the likes of Warp
Records, but with All the Darkness Has Gone to Details Ultre is turning
his focus onto music.
“Pictures of Piano Wotfs” opens the album. Light piano keys hold the track
together as Ultre sprinkles distorted strings across this fresh track.
“Being Invincible” brings some beats into the equation along with computer
tearings. Piano keys are again at the heart of the melody, as beats fizz and
whip in the background. Guitaresque synth sounds usher in “Hemrings,” mixed
with more stressed strings. The track has a slow rock feel, quietly moving
along in acoustic tones with only smatterings of electronics coming in.
“Nobodies Favourite” echoes the piano keys and strings, with drippings of
beats. It becomes apparent, even at this early stage, the importance Ultre
has given to the piano, in both tuned and un-tuned form.
“Useless Nervous Minutes” blends strings and keys, with powerful metallic
beats roaring through the track. A melodic piece that illustrates many
elements of the classic electronica sound. “Nobodies Beaks” moves into more
unsettling ground. The track follows a similar pattern of keys and beats,
but Ultre’s melodies border in the twilight. There is a sinister aspect to
how he breaks the chords, leading to an uneasy and abstract work. Glitch and
computer beats bully their way in with “In the Nerves,” harmonies take a
back seat to up-tempo industrial fueled drum rushes.
“Bricolage” breaks with the rest of the album, as does its forerunner. The
beats are there, but dipped in warm undercurrents of fluctuating sound. A
slow, even ambient, track that is refreshing and quite wonderful. Pianos
return, as does the mechanical percussion and tortured strings, for
“Scissors and Intervals.” “Phrotos” moves in next in classic electronica
form. Well-conceived beats, lovingly created, are warmed through with piano
stylings. A short, but breathtaking piece. Warm blankets of sound are piled
high in “Orcheste Neutron” before sombre keys are planted. Wonderfully rich
and aching piece.
“Massive Thingy in Tiny Hands” ends Ultre’s first album. The track starts
playfully, with McNicholas twisting and turning the sound. Abused strings
are brought back for the finale. The track breaks for some seven minutes
before abstract rasps and slips lead All the Darkness Has Gone to Details
to its completion.
On first listening to All the Darkness Has Gone to Details it sounds a
little done, like an electronica album you’ve heard too many times before.
But, it soon comes to light that this is not the case. Some of the album’s
tracks do have a bit of a same same feel, but these are still good tracks.
Ultre’s music has a homemade, nurtured feel with a clean edge. He has used
his obvious love of the piano, but not killed it. He has utilized strings,
but not into boredom. Ultre has taken aspects of music he loves and brought
them together to produce a warm and inspiring piece of (electronic) music.
All The Darkness Has Gone To Details is out now on Audiobulb.
