French producer Jerome Berthelot, disguised as Kabutogani, sculpted
glitchy instrumental dance music on
Control Design (Guerilla Underground, 2001) and
Aesthetics (Guerilla Underground, 2003).
Thin, dry digital sound permeates the tone poems of
Bektop (2010) (Mille Plateaux, 2010).
The brief, spastic Protocole 1 is a good introduction to
Kabutogani's irregular art. Everything changes all the time in the
frantic dance music of CXEMA: the beat, the drones and the effects.
The proucer's attention span is very limited and the music is therefore
a wild, dadaistic merry-go-round of ideas.
Even the closest thing to ambient music, Kuril Probe, builds up to a
sudden climax that sounds like a music-box gone mad.
The beat is a non-issue in 120 Degrees, which indulges in a study
of timbres and juxtapositions. Seisen does the same but in the
dirty, murky, sloppy side of things.
Kabutogani is a bit more focused in Clave, a "rocking" piece
that first explores the high, harsh, sharp end of the spectrum with an almost
metal edge and then settles for an industrial ballet; and in the
maimed melody that emerges out of the putrid patterns of Ducts.
Psychological qualities dominate the haunting Book Gills and the
micro-concerto for radio signals and interferences of The Green Dome.
Three decades later the lesson of
Brian Eno's Before and After Science
is still being renewed and reapplied in all its glory to the new musical media.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami