• 2LP
  • Digital


Orange

  • Cat No: TTT102
  • Release: 2022-11-04
  • updated:

Format

Digital 1560 JPY

独創的なドラムプログラミング、ダブワイズ。内省的世界観にも没入するパーカッシブ・エレクトロニクス、推薦!〈TOTAL STASIS〉でリリースを重ね、現在はこの〈THE TRILOGY TAPES〉を舞台に現代電子音楽を深掘りしてきたCS + KREMEのキャリア二作目、待望新作アルバムが到着。

同じくTTTから放ったデビューアルバムにして歴史的名作「Snoopy」からおよそ3年、リリースアラート後には問い合わせも殺到した注目の新作「Orange」が本日店着!刻々と変化するポリリズムドラムパターンにゴシックな電子音の背景をつけたオープナー「Bassline」(sample1)、シロフォンとチェロのリズムセッション「Shred」(sample2)、SSWのBRIDGET ST JOHNをボーカルハミングに迎えたサイケデリックフォーク・ブレイクス「Would You Like a Vampire」まで。デトロイトのビートダウン、初期エレクトロニカ、ジャズを噛み砕きながら驚くほどにリズミカルなアウトプットに。今作もお早めに是非! (Akie) (2LPのコメントから参照)

Track List

24bit/44.1khz [wav/flac/aiff/alac/mp3]

Snoopy is hard to follow up. The same brilliant musicality is lavished on Orange — a combination of unmistakably original, skittering drum programming, startlingly fresh instrumental interjections, creepily invocatory voices, and dubwise treatments — giddily imbued with the dark arts of ritual and seance. But Orange is more gripping, focussed and urgent, more intense and ambitious. Next level.
Its first quarter presents a trio of forays in suspense.
Bassline squares up like an epic psych-funk grinder, with a moody guitar line traversed by ticking drum patterns and faint electric crackle. In no time the guitar is staggering and stammering under the duress of echo and distortion, and over-run with percussive electronics and the first of the voices massing in the music’s head. The mood has quickly become more trepidatious. We're deeper underground; it’s gloomier, wetter.
Shred propulsively ratchets up the tension and menace. Glazily tentative xylophone is played against slashing, nervy cello. The voices are more strangulated and sick now. Flutes and chimes evoke the same kind of beautiful, contaminated efflorescence which is pictured on the LP’s front cover.
Voice Of The Spider makes easier progress across this cavernous, shadowy, dripping terrain, with funky pads and Nasty, eighties, No Wave electric bass; woozy chimes, non-plussed keys, singing-in-tongues.
Pink Mist marks an arrival, or unbottling, with annunciatory church-organ and choral voices from the off, and a newly relaxed, head-nodding kosmische rhythm.
Mandarin is a short, beat-less and voice-free interlude for piano and bass. It's reflective and nostalgic, ambivalent and inconclusive, with a lovely snatch of melody. A bridge half-way.
Would You Like A Vampire is a triumphant, mesmerizing go at New Folk, with strummed acoustic guitar, descant song, and jazzily restless drum programming (including a tasty bass-bin trembler). Amazingly, Conrad Standish is joined at the mic by none other than Bridget St John. Together they sing 'Earth is Paradise’ so repeatedly and tremulously — and the song is cut off so abruptly at the end — it seems as if the verb is teetering on the past tense, and hymn fading into valediction and catastrophe.
Similarly Storm Rips Banana Tree begins idyllically enough, with a CS-&-Kreme-style raga… before something like an immense, obliterative drill starts up. Harpsichord and organ — by James Rushford — and flutes, and clapping, distant chanting and insectile percussion steadily leaven the dread, till finally all that is left is lapping water. It’s an epic, deeply immersive, compelling, thought-provoking, twenty-minute finale… the coup de grâce.

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