. sound
drone . experimental . glitch'n'cuts
CD - Raster-Noton
Trapped by his own genius, auto-induced to predominantly wear Senor Coconut's exotic clothes, Uwe Schmidt, aka Atom Heart, aka Atom ™, aka Lassigue Bendthaus now with his first release for Raster-Noton, is still able to surprise. 'Liedgut' is an estranging album, romantic and austere at the same time, only partially aware of 'Pop Artificielle', a 1998 project that already outlined multi-fascinating and synthetic components. It's clear from the earliest tracks: energetic digital slashes and waves of bass, then wrapped by a singsong mixed with drones. With unconcealed melodies and robotic vocals in 'Felder Und Wellen', the first track is suspended in oneiric combinations, full of glitches and clickings. A mathematical exploration of the European musical tradition, this album continues of the interplay of pure science and lyricism, even in the 'Mittlere Composition', a sort of lysergic and Schubert-esque evolution of compositional grace. And the last part, just as significantly, is made out of lost alien monologues spiced with 'white noise', between shooting electronic sequences and philosophical references.
Aurelio Cianciotta
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Atom™ - Liedgut
CD - Raster-NotonTrapped by his own genius, auto-induced to predominantly wear Senor Coconut's exotic clothes, Uwe Schmidt, aka Atom Heart, aka Atom ™, aka Lassigue Bendthaus now with his first release for Raster-Noton, is still able to surprise. 'Liedgut' is an estranging album, romantic and austere at the same time, only partially aware of 'Pop Artificielle', a 1998 project that already outlined multi-fascinating and synthetic components. It's clear from the earliest tracks: energetic digital slashes and waves of bass, then wrapped by a singsong mixed with drones. With unconcealed melodies and robotic vocals in 'Felder Und Wellen', the first track is suspended in oneiric combinations, full of glitches and clickings. A mathematical exploration of the European musical tradition, this album continues of the interplay of pure science and lyricism, even in the 'Mittlere Composition', a sort of lysergic and Schubert-esque evolution of compositional grace. And the last part, just as significantly, is made out of lost alien monologues spiced with 'white noise', between shooting electronic sequences and philosophical references.
Aurelio Cianciotta
email this | + facebook | + twitter | TrackBacks (0)
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