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Alva Noto, "Unitxt"
Moving past his more abstract work from the Trans- series of releases, Carsten Nicolai instead opts for a more rhythmic electronic work that, while not well suited for the club, demonstrates his knack for turning pure chaos into rhythmic composition, even if it can’t be danced to.
The ten tracks that comprise Unitxt do not deviate dramatically from one another, at least in the instrumentation used: all tend to be based around the requisite beeps, clicks and digital errors stapled on a framework of conventional 120bpm electronics. The actual dynamics of the pieces do vary notably, however. While the actual etiology of the sounds is not made clear, the presentation of 15 tracks named after various computer programs at the end leads me to believe the overall sound comes from opening data in sound editing software. I assume elements of the buzzes, blips, and screeches that were created were then carefully molded and shaped into the glitchy techno that comprises the album.
Tracks such as “u_06” and “u_04” both glide on microsonic clicks and pulses shaped into rhythms, the former featuring an obvious, but fractured and obtuse rhythm, and the latter propelled by a monotone digital click drum and a backing of what could be ancient modem connect tones sequenced to be almost synth-like. “u_08” and “u_09-1-2” also follow along with this more conventional techno structure, though the latter encroaches into more harsh territory with a build up of white noise covering the more rhythmic spots.
These noiser leanings are more apparent on “u_08-1” and “u_03”, both of which move along with clunky distortion-laden sounds that could be described as the sound of a dying hard drive or a malfunctioning sound card. The album as a whole begins to become more and more chaotic towards the end: the extreme high and low end frequencies of “u-05” are reminiscent, dynamically at least, of an abstract techno take on PIL’s Metal Box, while the closing “u-09-0” has even more noisy outbursts and textures mixed with pastiches of utter silence.
A few of the tracks feature spoken word elements by French poet Anne-James Chaton, which contrast the inorganic nature of the music very well. The opening “u_07” is perhaps the most conventional “techno” piece on here, and it’s frail, thin sound is nicely contrasted by the monotone reading by Chaton of the contents of Nicolai’s wallet. The other tracks with vocals are not quite as memorable, but the voice does inject a nice human counterpoint to the otherwise purely digital world.
I don’t think anyone would expect a Raster-Noton release to be a hit at the clubs, and this one is no different. However, as a clinical, glitchy disc that for all its abstraction, remains a tightly structured rhythmic work. It is an engaging set of sounds that functions well both in the headphone meditative listening as well as bowel shaking loud volumes that give a more visceral experience.
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