Cravune — Figures (2018, Detriti Records)
On the first listen through Figures, the latest release from Berlin-based Neapolitan artist Cravune, feels blisteringly short — a collection of electronic études and fragmentary ideas hastily put to tape. On the second listen, however, Figures begins to open itself to the listener and reveals an artist who is clearly competent and adroit in composing many variants of electronic music. One who can appreciate the brevity is generally rewarded; those who yearn for works which remain temporally without constraint or have more time for sonic exploration will struggle with this release. Even for those most attentive and/or patient, at times Figures feels tediously brief. Yet for all of its temporal foibles, the listener is treated to a release which coherently melds and explores sometimes disparate aesthetics of electronic music. Opening with ‘Vicarìa’, a downtempo piece of minimalist electronica which is at times reminiscent of Autechre, yet manages to bask in all the self-assured minimalism of Ghislain Poirier’s early work. At the album’s halfway mark, ‘Figure 2’ (the longest track on the album), the listener is treated to what is perhaps the most straight forward (house) tune on the release. With nods to Detroit techno and even momentary glimpses of Martin Rev’s work with Suicide, the track stokes a sense of late night nostalgia and truly feels like the album’s most developed, fully realized work. As the album winds to a close, the listener can find many of the album’s trademarks (both good and bad) on the penultimate and ultimate tracks, ‘Figure 6’ and ‘Etudes’, respectively. The former, ‘Figure 6’ is this listener’s favorite. Its alluring simplicity is hypnotic and recalls the brilliance of early Mouse on Mars, without decadence or gratuitous production work. The final track, ‘Etudes’, as its title suggests, has a number of étude-like detours, which diverge from a central trip hop theme. In many ways the final piece is representative of the album as a whole: a myriad of unique and intelligent, yet self-contained fragments briefly appear from a thematic locus, only to evaporate mere seconds later. In sum, Figures is a frustrating release: in listening, one experiences moments of pure bliss and can revel in late night introspection or youth-like nostalgia. At other times, however, the brevity of the tracks is stultifying (if not disorienting). This listener ultimately gets the feeling that Cravune is just getting warmed up and as the artist’s longest playing album to-date, Figures bodes well for future releases from the artist.