A sandwich of unknown origins from Tom Dissevelt. Fantasy In Orbit is a rather apt title for these extraterrestrial entities. It contains an endless supply of dissonant synths which filter in and out, Dissevelt adding layers whilst simultaneously stripping them away, rooted by some highly strung bass frequencies. It's meandering mid-century avant-garde electronics. Out on vinyl LP from Sonitron.
LP £19.49 TRON5002
Ltd LP on Sonitron. Edition of 300 copies.
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- Fantasy In Orbit by Tom Dissevelt
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Sonitron’s second release is from the same Dutchman as one of the dudes on the first, with the suitably ridiculous subtitle "Round the world with electronic music". Contrary to first reactions, this is not a chronicle of electronic sound through the ages (there is no indication whatsoever as to when this was made apart from “before the landing of men onto the Moon” in the press release), it is completely literal. Shrouded in mystery and bombast, Fantasy in Orbit is a concept album of sorts sonically detailing a trip into Earth’s surrounding space.
There isn’t much to do in space apart from talking to computers, which this LP thoroughly covers. Lots of odd layers of bleeps and thrums converse sporadically, painting the spectre of madness that being alone in space surrounded by flashing equipment would bring. As sound collages, the tracks exhibited here are both vivid and unsettling, but ultimately careful and rich. If Dissevelt set out to convert the unfamiliarity that space travel would bring then he is definitely successful, but his mastery doesn’t end there. Each individual ‘instrument’ is beautifully crafted, showing off the man’s synthesis skills from track 1, all the more impressive considering how early it claims to be.
The LP is accompanied by a blurb guiding you through the journey track by track, providing such borderline hilarious phrases as “You’re off: seven orbits. Surrender.” and “Thus life began - and life crept out of the water on to land”. This highlights the main issue with this release, you tend to get the point after most of the first side, and each track doesn’t quite reflect its particular subject. Dissevelt comes close on the clangs of ‘Gamelan’ and the tumbling feel of ‘Re-entry’ but it needs more consistency. The concept itself is also quite a naive one, but an understandable path to take on first trying to consolidate this onslaught of new sonic possibility. Even so, this will definitely appeal to the early electronic bods who like totally out-there shit.
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