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One of the better new electronic/ambient labels out there is
the Fax-records-inspired Databloem, and its DataObscura CDR sublabel. Label heads Dennis Knopper and Anthony Paul
Kerby have proven time and again that they've excellent tastes regarding new
and unheard talent in electronic music, over the short time Databloem's been in
existence. We already know that Kerby
himself is a fine musician, recording as both The Circular Ruins and
Lammergeyer. Knopper, on the other hand,
waited some time before dropping his own musical debut on DataObscura,
Once Upon a Time, under the moniker Spielerei.
Spielerei first appeared on the Databloem compilation Collection 2: Moving,
with the track "Displaying Movements"--displaying "slick
sequences, synth washes, and dreamy atmosphere recall[ing] the very best of
Göttsching's mid-seventies material, but with a modern approach." That track is also featured on Once
Upon a Time in all its bright, sequenced glory. First, though, we have "1 Out of
2000" which sounds rather like a Circular Ruins track; lancing synth
solos, bubbly e-percussion, and strange, nearly chaotic electronic textures and
elements which flitter wildly. It almost
reminds of an outtake from The Circular Ruins's Empathy Test at
times, though the sound here is a bit moodier.
Obviously Kerby and Knopper's styles are aligned not just
taste-wise. After the fine
"Displaying Movements," we move to "Kissing Fish," a
stunner of an ambient track. There's an
old-school Vangelis, circa Blade Runner feel here, as
elegiac synth sweeps are shot through with strange electronic whooshings. We're above the city where it never seems to
stop raining, our swift craft shielding us not just from the moisture, but also
from the city's disharmony below. Later,
the track descends into deep ambience still further, with a drone not unlike
Tetsu Inoue was capable of during his Fax-label years. Terrific stuff. "Incarnation" is also deeply
ambient, with enveloping drones lightened by electronic sounds that pan across
the speakers like slow lightning (there's an oxymoron, for you). The sun comes out halfway through with a
quite bright ambient-techno synth melody; gorgeous and enlivening. A hint of percussion, and you've got a great
ambient track that morphs seamlessly into an ambient-techno anthem. "Once Upon a Time" is a nebulous
combination of strange mechanical grindings, electronic textures, and vocal
samples--chaotic, but still soothing.
Like some of the earlier tracks on Inoue's similar-sounding
Organic Cloud, this doesn't quite gel over its length. "Mistaken Identity" returns to
bright ambience with lovely synth that recalls Mixmaster Morris's material;
bright, psychedelic, and somehow watery. Faint synth-soloing is also present,
enhancing this brief track greatly.
"Spielerei" isn't exactly indicative of the artist's sound as
one might expect. Namlook-ian synth
solos and glitchy rhythm sequences remind me more strongly of Fax material than
the rest of the album suggests.
Nevertheless, considering his recent output, this track out-Namlooks Namlook. Next, "Central Heating" is indeed
warm, as soothing synthwaves shower the listener in a light and welcoming
way. Dramatic synth filters in, rising
to a Klaus Schulze crescendo, and the track fades out into its successor. "Symphysodon" is the longest track
on the album, and is also, in my opinion, the best. More synth drones cascade, with ghostly
voices, unusual electronic textures, and great synth solos. By track's end, a cool groove, recalling once
again Tetsu Inoue, is introduced, quietly propelling the album to its
close.
I bring up classic Fax material often in this review, but by
no means is Spielerei's debut slavishly copy-catting the works on that
label. Instead, he references the
material, not to mention many other classic electronic musicians, and creates
his own, original work, informed by past masters. In fact, Fax fans will want to look out for
Once Upon a Time, as it will remind them of what they
enjoyed about the label during its golden years, without being derivative or
dated, as some old Fax material is. It's
worth seeking out, especially if you've found recent Fax offerings
lacking. While Once Upon a
Time does suffer from sameness between individual tracks,
particularly on the latter half of the album, it's a fine and well-executed
album of intriguing electronic music.
Knopper proves here that he can create great music as well as select
great new artists for his label. You
likely won't find a better pure synth-music album in 2004.
Reviewed by Brian
Bieniowski reprinted here on Ambient Visions.
Visit Brian's
website by clicking
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