12 May

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Cravune — Figures (2018, Detriti Records)

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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.

30 August

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Gilman Mom — Manifest Destiny (2017, Macaque)

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On the bandcamp page for the latest release by Berkeley, California artist Gilman Mom, the listener encounters a disclaimer of sorts indicating that Manifest Destiny should “feel like a troubled night walk of self-reflection that blossoms into realization.” Indeed, at times, the listener is immersed in the unpredictability of a late night saunter through some unnamed urban hell. The combination of field recordings, sound clips, and ethereal electronic production craft an album that straddles the line between erratic introspection and dreamlike aplomb. Moments of minimalism emerge and mirror late night stillness and the mildly obsessive pensiveness that one is awash in when surrendering oneself to critical self-evaluation. Trip hop vibes surface and recede at varying points throughout. The sonic/compositional lightness is sometimes reminiscent of the early works of Ghislain Poirier—if he were playing fast and loose with his composing—or the KLM on an off day. At times, the deeply personal, confession-like monologues are somewhat jarring. When contextualized alongside GM’s 2016 release I Forgot to Tell You, however, everything comes into clearer stylistic focus. The artist’s propensity for sound clips, monologues, etc., while unapologetically subjective, lend a degree of rawness that is often lost or suppressed in the digital realms of electronic music(s). While it remains unknown if the clips employed are in fact the artist themself, the selection of these fragments effectively represent subjectivity and self-examination, even unintentionally. At Marginal HQ we’re musing over what an even more minimal Gilman Mom record looks like, but who knows what’s in the cards. Fans of Australia artist Pogo and the aforementioned KLM should find this palatable, whilst those who gravitate more towards field recordings and high degrees of aural abstraction will find the musicality and human voice to be a nuisance.