Comment:
first of all, it is very sweet to see such an irresistibly created retrodelic
cover quite intentionally depicting those futuristic ideas related to
electronic music and krautrock and progressive rock. The aesthetic of
Kraftwerk, for instance. On the other side, by watching this marvellous one it
predicts something special for the listener. This bunch of 17 compositions
starts off with Tango Para No Balair, which is a cinematic, even ghastly
insight while representing different music styles in an one piece as well (nu
jazz, plunderphonics, tango noir, easy listening). Given that cinematic aspect
with the mechanic sound of a film camera in the background it is not surprising
at all because behind the project is the Dutchman Bas Niemans, who is being
expert at doing videos. Because of that, it is not wondrous at all how he
succeeded in establishing an album of having so many colours, edges, penumbras
and full shadows. But I am wondering how he is being musically so talented to
create something like this. This sonic scope of him is truly wide ranging from
ghastly tango and plangent harmonium-led drone pop/organcore vignettes and
Parisian street music to overwhelming electronic progressions and spoken
word-infused situations somewhere in the midst of carnival or on noisy street
or in crowd. In spite of offering up the undulating fold of images with
poignant knots the issue is seamlessly wholesome. By kindred souls there can be
drawn parallels upon the likes of Oskar Hallbert, Yann Tiersen, Bark Cat Bark,
Penguin Café Orchestra. In a word, it is a mind-boggling juggernaut from the
past. The outing is a part of the discogrpahy of an Utrecht, the Netherlands-based imprint 2419 Record Label.
