This is the debut album release from noisemaker Illuminine aka Kevin Imbrechts (Mosquito). Holed up in his bedroom with a guitar and a selection of effects pedals, Illuminine has been experimenting with sound for years to produce this sharp, economical, post rock, post noise-rock record that grew conceptually from a lo fi guitar album into the serene, stripped back, symphonic journey that it is.
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This slice of no frills ambient comes from Kevin Imbrechts, a bedside composer seeking to communicate his unabashed love of neo-classical and post-rock. On ‘#1’, his own attempt at minimalism comes through both processing and more formalised composition, the two combining for a record in which forlorn melodies come creeping out of unmoveable soundscapes. Let’s go.
What Imbrechts makes is both sublime and grandiose; the plucked guitar notes that punctuate the gentle noise wall of “Llyr” sound exalted with the crystalline sound of London Grammar, echoing out against acoustics that seem to have suddenly transpired, the song expanding outward from its suffocating setting. His use of noise processing, in the meantime, is both assimilating and gentle, creating a torrid backdrop that is nonetheless entirely listenable: in its brief time on earth, “Interlude I” recalls the sweet but caustic drone of Secret Pyramid.
Neo-classical doesn’t have to mean just one thing, and Imbrechts style waxes and wanes, ‘#1’ sounding like a sketchbook of potential future movements. Hearing them in this loose, drafty element lends each composition something special, though: the fact that the acoustically picked New Age tune “For What It’s Worth” crests up against the wailing drones around it makes it feel like a breath of much needed air. Imbrechts uses a number of instruments and ideas to make ambient music sound like an anomaly, not a constant.
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