As co-founder to Germany's electroacoustic ensemble Brandt Brauer Frick, it wouldn't be surprising that pioneering whizz Daniel Brant's latest offering is highly intricate. His jittering debut solo release, Eternal Something, is both the antithesis to and introverted take on clubland dance music.
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Actual good album alert. German composer Daniel Brandt had an idea - a totally ridiculous one - that he was going to make an album using only cymbals. Luckily he changed his mind and instead uses all kinds on instruments to make 'Eternal Something'. It's brilliant - right from the very get go when 'Chaparral Mesa' uses a two note pulsing bass motif as a bedrock for electronics and found sounds to go haywire. Eventually it bursts out of it's shell with some skittering drums and feedback loops. It's something like Can circa 'Future Days being conducted by Steve Reich and Philip Glass. What Brandt has arrived at is a very rhythmic form of composition that relies on subtle changes of note and tone underneath endlessly skipping beats. On 'FSG' these are joined by beautiful horn work that add a kind of Tortoise/Chicago clever people feel to proceedings.
Brabndt is endlessly inventive veering from the almost acidy squelches of 'The White of the Eye' to the gorgeous repeating motif's of 'Turn Over' which combines a descending post rock influences series of guitars with stretched brass work reminding me perhaps of some of Jim O' Rourke's work on Gastr Del Sol's 'Camofleur'.
'Eternal Something' is one of those albums -like Barnaby Carter's annoyingly sold out 'While It Still Blooms' earlier this year that perfectly combines the experimental with the listenable. You can marvel at the precisely played beats and rhythmic dexterity but Brandt is going to go one better with a lovely heart wrenching tune too. It often aims for the place I'd imagine To Rococo Rot were hoping to get where krauty instrumentals were welded to techno influenced electronics and glitchy mayhem. Yet Brandt's music is always warm and organic. He keeps the warmth in.
This is a stunning effort.
3/10 Alex 28th March 2017
Actual bobbins alert. German composer Daniel Brandt had an idea - a preposterous one, but the kind of thing that people hand over cold hard cash for when pressed into round pieces of plastic, in spite of there being little evidence that anyone actually enjoys it - that he was going to make an album that sounded like a drunk Stomp attempting millenial armchair techno.
Straight out of the gate we have 'Chaparral Mesa' a piece that tumbles over itself to literally no pleasurable conclusion, with all the makings of what would be a Nils Frahm SHREDS! video, did it not have the cachet of of being attached to perennially yawnworthy yuppie wallpaper label Erased Tapes. The Barbican Techno theme continues into 'FSG', in which you can practically smell the carrot cake and matcha tea being nursed by the crowd of arts adminstrators who still haven't got over that Haçienda Classical night at the Royal Albert Hall.
'The White of The Eye' starts with an easily anthropomorphisisable syncopated acid line, a sockpuppet of a which I liked to imagine says: "oh-what-is-ab-out-to-ha-ppen" over and over - and then the answer - some coldplay piano, farting, whirring, clicking and more fucking Stomp-ing. Onto track 5, I find myself - as a fan of David Pajo, Bundy K Brown, et al, unoffended by 'Turn Over', though am unmoved by the experience and unlikely to return to it, being as it is - a sliver of sweet pickle sandwiched between a lot of mouldy bread.
Running out of steam I note the next track has 'Kale' in the title, which sounds about right - Nutribullet electronica a la Four Tet - a little something for grown ups to housechore to. In the final suite of three, we get something Balearic, something Matthew Herbert and something Post-Rocky. I like the post-rocky bits the best. But I'm not clearly not sold on Eternal Something, am I? Perhaps Daniel Brandt should have made that cymbal record after all.
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