Inch-time
Myth
& Impermanence
Mystery Plays Records (CD/DL)
Out Now
Having just reviewed the new Four
Tet album, 0181, it was interesting that next up should be something with
which it could sit shoulder to shoulder.
The new album from Stefan Panczak is a quite lovely little affair, with
influences from the worlds of jazz (The Necks), post-rock (Tortoise) and
Arabesque dub (Demdike Stare). The
follow up to 2011’s The Floating World, Myth & Impermanence is not only a
marvellous album title but also a collection of eleven instrumentals of
impressive quality – the Australian born producer has an ear for an addictive
tune.
As a long-time fan of Depeche
Mode, I found album opener Time Of The Fire similar sounding to one of the
Basildon boys’ remixes. Early sounds
reminiscent of Barrel Of A Gun and a lovely clean drumsound, deep bass and
interesting effects. Some early spoken
voice and baritone sounds fading in and out.
The driving percussion is soon joined by a simple guitar sound creating
a very effective track and adding a new dimension. A xylophone sounds emerges
and adds a magical quality – almost imaginable in a Buddhist temple. Incredibly entertaining and interesting.
Slowing down slightly with some atmospheric sounds and a jazz percussion
courtesy of Karl Penney, The Sun Myth breezes along with an improvised and
almost random feel. Creating a sense of
complete weightlessness, another guest musician, Alex Bonney adds to the
experimental vibe with a striking trumpet solo or two. The minimal feel continues with Woods a track
that has ‘dub me’ written all over it. Tinkling
keyboards, nice effects and ‘whirrs’ held together by the bass of Olie Brice,
one of the UK’s finest jazz musicians.
Almost ambient, Stapedius creates soundscapes and tones which are
incredibly subtle. Very slight noises,
very relaxing – think massage rather than dance. Slightly taxing but so pleasant to listen to
that I’d drifted away slightly and was halfway through track 5, Night
Falls. Strumming guitars over ebbing
water, again I’m thinking eastern temples through the sounds of rustling wind
and cymbals. The occasional stroke of a
drum and blow of brass, the track doesn’t really ‘go’ anywhere, but, in a way,
that’s its beauty.
Black Mountain is slightly more on the electronic side, again a little
like the Mode with a wind instrument of sorts and spoken samples dying down to
an eerie silence. Home is a track that’s
gone before you know it – completely mesmerising – you begin to realise that on
second listen, this album is actually quite a beautiful piece of work. In some ways, not ideal music to listen to in
the car due to the calming nature of the sounds, The Devil In Any Key and One
After Another exquisite in their simpleness, and, addictive in a similar way to
Transmission
13’s Kaleidoscopio album from last year.
At just over a minute, Impermanence is one of those tracks that I often
don’t see the point in. It starts, it
ends straight away. Maybe it’s just me,
but, album closer, Decay soon takes over. A space-age sound – echoes,
atmospheric with less jazz but more synth.
A slight percussion almost akin to dripping water fading out and leaving
the album in a truly inspiring way.
Panczak describes the album as one to “get lost in, to be played after-hours”
and I couldn’t agree more. An album,
which for me on second listen, really ‘clicked’ and became something rather
nice.
8/10
Follow Stefan on his blog here or on Twitter here.
If you do the Facebook thang, you can do it here.
Published on Louder Than War 22/02/13 - http://louderthanwar.com/inch-time-myth-impermanence-album-review/
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