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vladislav delay
mille plateaux   2001
  see also
mille plateux website

album rating: 3

submitted by anton on 5-Sep-2001
I have instantly fallen in love with this cd and have been under its influence for past few weeks. I have finally managed to shed its spell to an extent, enough to be able to write a few words about it.

this cd (being also my favorite among all the vladislav delay, uusitalo and luomo material) is absolutely everything I have been looking for in the glitch/clicks&cuts genre. even its format (one 62-plus minute track) works out best for this truly epic experience.

just imagine one solid, continuous flow of music that is more like a living breating organism, filled with myriad of elements that despite their inherent minimalism, offer an incredibly captivating atmosphere. what makes it so perfect is constant presence of strings and some peculiar feel, that almost classifies as a melody, in a sense of early ultra milkmaids or atonal, flowing beauty of l’usine icl on u-cover.

whirrs, random drops, clicks, cuts, hisses and small noises fill this record, not in the hyperactive fashion of Richard divine, but in refined, minimal way, when randomness and delays between sounds are as important as sounds themselves. this refined, elegant architectural approach offers a fully open interpretation of the music. completely unrestricted, unusual and always surprising, this record shapes itself to any mood and feel of the listener.

compared with other glitch artists it has so much more actual composition and melody, or simply emotion – something I have always missed in the genre and thought was impossible to combine the two. the contrast of warm atonal atmosphere and precisely placed cold bits and pieces of sound is probably what makes this album so instantly appealing. if you look deeper, there is enough material to dissect for any sound manipulation geek, or for anyone into late night listening sessions.

at times the music embarks on rhythmic minimal techno trip, at times it slows down to transparent washes of ambient electronica. it never loses this peculiar precision and emotion though, the ingredients that make this album so unforgettable.

this sonic construction is both rigid and infinitely fragile, sentimental and distant, at times almost tender, lost in memories. it never strikes you as aggressively, purposefully “constructed” (think conceptualism of pan sonic or early m2). I suppose it is the time for the gene as a whole to slowly merge with other styles, slowly shedding excessive dadaist appeal and dry conceptualism.

this album offers so much to almost anyone, but the ones that can recognize both the beauty of cold, refined noises and deep minimal ambiance would be able to appreciate it the most. for some it would be instant “love at first listen,” for others it might require a few history lessons, perspective adjustment and thorough training. the result, however, is worth it all.

I personally tried it in almost every setting throughout past few weeks, and discovered this album to be a perfect music for early gloomy mornings with slight rain outside, when the dim light of the day slowly and reluctantly seeps through the windows, and smell of the rain fills the room.

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