BLACK TO COMM — Wir können leider nicht etwas mehr zu tun
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" 'Wir können leider nicht etwas mehr zu tun...' is the rather weird title for black to comm's 2nd album release within 12 months, this time coming out on a gorgeous vinyl-only double-lp with a beautifully strange gatefold sleeve in a limited edition of 500 copies. black to comm is the nom de plume for hamburg's dekorder label head honcho marc richter's sonic voyages. in 2006 he released a 7" lathe cut picture disc ("levitation"), his debut album "rückwärts backwards" on cd and very limited vinyl and compilation tracks for the finnish 267 lattajjaa and ukrainian quasipop labels. while the first album was mainly constructed from dusty vinyl and shellac loops, the new album is based on "real" instruments including several antique organs, electric harmonium, acoustic & electric guitars, bells, clattery percussion, vintage effect pedals and tape loops thereof. richter builds up massive psychedelic one-chord drones, minimal yet dense and heavily layered, full of spacious details and swirling melodies buried within. each track is slowly building, drifting and floating hypnotically into a warm and shimmering black ocean of sonic liquid, creating a mesmerizing and mysterious mass of sound. while most of the works are thick monotone layers of organic sound there's some sort of simple songwriting gleaming constantly through the mist, making this a highly accessible drone album. guest musicians are hamburg visual artist renate nikolaus on electric & acoustic guitars and voice and electro-acoustic musician gregory büttner on trumpet." [label info]
".....The disc opens with huge organ drones, reminiscent of Niblock or Palestine, rumbling and whirring, massive waves of thick sound,
while beneath lurk microscopic squeaks and creaks. The tones and layers subtly shift as does the stereo panning, making the sound
intensely immersive and almost dizzying. It eventually builds into an impressive squall, with the addition of swooping and bleeping spacey FX buried beneath the cascading organ tones. And that's just the first track!
The second track begins with a constant foghorn tone, mesmerizing and thickly layered, while far off in the distance tiny
sonic events occur, melancholy pianos record crackle, the whole thing
transforms into a cacophony off brass-like skree, piled atop warbly
snippets of sound, somehow managing to remain dreamy and hypnotic,
even at its most chaotic.
The flip side of the first disc begins with a super dense
blast of blinding sonic effulgence, so rich and thick and glistening,
sparkling with a million fluttering notes all swirling and whirling
and beginning to crumble in that gorgeous dying sun sort of way. This
intensity eventually gives way to a strange acoustic second half, all
serene steel strings and distant kitchen sink clatter.
Side C is all rumbling low end warble, draped thickly over
strangely twisted fun-house-mirror melodies and little alien
squiggles of sound, the low end pulsing and beating offering up super
subtle almost-rhythms.
And finally, the record closer, which takes up ALL of side 4,
and epic droning monster, that begins like just another slab of
rumble and shimmer, before some serious dissonance is introduced,
more brass-like tones that give the sound a very Nitsch like quality.
If you can imagine a Pop Ambient Hermann Nitsch you might be close.
And c'mon! Pop Ambient and Hermann Nitsch in the same sentence, in
the same review, that is all you should need to hear. Way recommended." [Aquarius Records]
".....The disc opens with huge organ drones, reminiscent of Niblock or Palestine, rumbling and whirring, massive waves of thick sound,
while beneath lurk microscopic squeaks and creaks. The tones and layers subtly shift as does the stereo panning, making the sound
intensely immersive and almost dizzying. It eventually builds into an impressive squall, with the addition of swooping and bleeping spacey FX buried beneath the cascading organ tones. And that's just the first track!
The second track begins with a constant foghorn tone, mesmerizing and thickly layered, while far off in the distance tiny
sonic events occur, melancholy pianos record crackle, the whole thing
transforms into a cacophony off brass-like skree, piled atop warbly
snippets of sound, somehow managing to remain dreamy and hypnotic,
even at its most chaotic.
The flip side of the first disc begins with a super dense
blast of blinding sonic effulgence, so rich and thick and glistening,
sparkling with a million fluttering notes all swirling and whirling
and beginning to crumble in that gorgeous dying sun sort of way. This
intensity eventually gives way to a strange acoustic second half, all
serene steel strings and distant kitchen sink clatter.
Side C is all rumbling low end warble, draped thickly over
strangely twisted fun-house-mirror melodies and little alien
squiggles of sound, the low end pulsing and beating offering up super
subtle almost-rhythms.
And finally, the record closer, which takes up ALL of side 4,
and epic droning monster, that begins like just another slab of
rumble and shimmer, before some serious dissonance is introduced,
more brass-like tones that give the sound a very Nitsch like quality.
If you can imagine a Pop Ambient Hermann Nitsch you might be close.
And c'mon! Pop Ambient and Hermann Nitsch in the same sentence, in
the same review, that is all you should need to hear. Way recommended." [Aquarius Records]