Double LP or CD on Perlon. Ricardo Villalobos and Max Loderbauer collaborate under the Vilod Moniker. Safe in Harbour is their first full-length of original material, since most of their collaborative efforts have been remixes. They have kept the content successfully close to their chest stating that it’s full of "sensual syncopation and eruptive bass energy". But what can you expect from a techno figurehead and a modular master?
9/10 Laurie Staff review, 17 June 2015
Vilod = Villalobos + Loderbauer. Now, looking at their fortes, you’d expect an intense, pumping LP full of hypnotic bodymoving beats and quirky synth noises as if Surgeon and Some Truths had shared a Berlin apartment for a month. But I’m 2 tracks in and a softer story is told, one of gentle cymbal hits and airy lounge chords.
It’s difficult to follow all of Villalobos’ stuff, but last week there was that Moritz von Oswald Trio record that featured the nuanced drumkit patterns of Tony Allen, to which ol’ Ricardo has lent his mastering skills, so maybe this is his new path? That’s probably wrong so ignore it. So here’s the scene of Safe In Harbour - a jazz drummer calmly taps away amid tiny glitch perc from Loderbauer’s literal wall of synth with some timid keys playing out gentle phrases that edge on dissonance. A bass synth toes the line between free human improv and technological rigidity. From this bizarre ensemble emerges occasional hints of a more stark techno style but it’s so coloured that these are fleeting glimpses at best.
The wonderful percussive world of ‘Zero’ is perhaps the perfect example of this, where electronic and acoustic styles collide like a skeleton perpetually falling over itself. The keys do their best to imitate struck bowls, ringing out quivering tones til the end. Good shit.
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- Safe In Harbour by Vilod
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