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1 review | 17 people love this record: be the 18th!

The art instillation 'Nimbes' was created between James Ginzburg, Yair Elazar Glotman and Joanie Lemercier, a visual undertaking that was projected around a "360 degree dome" in Canada. Seriously, you're gonna have to turn your head a lot if you want to take the whole thing in; the music aims to be as panoramic by reverberating with the same omnipresence. The percussion is torrential and overwhelming while the sounds are largely industrial-influenced.


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  • SUB012 / 12" on Subtext inc. Eric Holm Remix

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REVIEWS

Nimbes by James Ginzburg & Yair Elazar Glotman
1 review. Add your own review.
17 people love this record. Be the 18th!
8/10 Laurie Staff review, 13 November 2014

‘It’s dark’ are the words of warning from Clinton for this 12” and he’s not wrong. Originally the soundtrack for an immersive installation, Nimbes was recorded in a Berlin power station and a menacing circle of ashen trees graces the cover. It comes as no surprise then that when the needle drops, my ears are covered in dust and my eyebrows fold into a frown that would have Dennis the Menace cowering behind a frozen Gnasher.

The story behind Subtext is quite interesting - the Bristol label dropped 2 Vex’d singles back in ‘04, then remained dormant for 7 years, returning as a leader in brooding, stretched out industrial. I’m not sure what connection that they have with the Canadian video mafia, but the installation must have been intense considering the magnitude of black atmosphere present on ‘Nimbes’. The video was projected onto a massive circular dome, so you’d probably feel quite secluded and alone in that forest, until you get a whiff of the sweaty film buff sitting to your right.

The music heavily features a contrabass, which is essentially a double bass invented by Satan to rumble your innards. It drones along underneath various cavernous hisses and percussion spasms, clearly mirroring the space in which it was recorded, which is exactly what it says on the (press release-shaped) tin. Near the end, the contrabass enters a higher register, bordering on that chalkboard sound that so many idiots hate. We’re also treated to two remixes: the first from Glotman brings a wider variety of melody and exaggerated fluttering, sort of like being on a 1m square island in the middle of a stormy tropical ocean; Eric Holm’s ‘10/50 Mix’ digs deeper into looping industrial machine clunks. It’s generally nice to hear focus shifted onto different elements of the original, and thank christ they don’t resort to cliched beats!

After listening to this, all I want to do is sit in that theatre and experience the full AV onslaught, but this is good enough to stand shakily on its own and will have to do for us Eurasian losers.




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