Zymogen, the Italian-based netlabel, is very well known by its exclusiveness and high qualitative approach in describing electronic music. By offering electronic sound to people who prefer listening to the music with the headphones rather than to cover in rude beats someone`s dance floor.
1123581321345589 is the sophomore album under Zymogen in this year (the previous one was Nicola Ratti`s èsope). Oskar Hallbert (OH) is a musician who lives in the woods in the northern Sweden. His previous work Sids Apartment EP released under rain music sounded like the music played in finger-pick guitar style in the middle of the street or in a far corner of a crowded public house. This is a conceptual album on the Fibonacci numbers. He was inspired by the perspective that with the Fibonacci numbers it is possible to describe the nature, the proportion of human body and so on. In a word, the life is full of the combinations of numbers.
How could the sound be showcased in practise in reference to this theory? OH has described his initial approach as the improvisation on its own. His album seems to be consisted mainly of short 4-seconds snippets, and 89 tracks. Yet, this colossal schema is housed into 26 minutes. These very short tracks establish a thin ground where we can perceive minimal changes in the soundscape. The new album goes on a trip there where the previous one was finished. In fact, this folktronic sound will have been further developed from a placid frame of mind to overwhelming sadness. In the track 34 (not. ok) the listener will be engulfed by very funest sound sequences. Dolefulness of it will slowly spill over into your thoughts and change into depressive state of your mind. As we know as well good music can been accoutered with affinity to hurt the listeners sometimes. The longer tracks predicate mainly on mini-orchestrated and chamber music tunes. A smorgabord of modern (electronic) music is represented here - some experiments with hiss and noise, electroacoustic aspects, collage music/plunderphonics, field recordings/musique concrete, digital sound processing and spoken word. This conception and approach have beyond doubt some similarities with the works of Curd Duca nearly 10 years ago. Nevertheless, it is very intimately sounding work indeed.
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9.4
