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Coh, "0397Post-Pop"
The first disc of this two CD set contains a live recording from 2003,originally intended for studio completion, while the other containssome of Ivan Pavlov's first recordings as Coh from 1997.
Mego
In 1997 Pavlovseemed content to let a consistent rhythmic pattern remain unchangedfor nearly four minutes, as evidenced on "Fracture," however, with2003's "Untitled Smash Hit," the skeletal groove transforms into atechno-esque pattern that most of the preceeding tracks were remotelyhinting at. An entire set of this type of solid 4/4 groove would wearthin quickly, but by gradually building the set to this point, it is awelcome release of the tension that has built up during therhythmically ambiguous first half of the set. "Dynamo Babe" seamlesslykeeps up the pace and sees Pavlov weaving layers of interlocking 16thnote patterns that build up to a distorted ending. The newer set worksbetter because the tracks build off of each other and have a bettersense of cohesion. Much of the early set has a similar feel to hisrecordings released between 1998 and 2000 on Raster-Noton, exploringthe intricacies of single tones and pulses for minutes on end. Hearingthese two sets back to back it is clear that he has since becomeskilled at combining these base sounds into more structurally andcompositionally advanced pieces, which have become more enjoyable forme at least. The recent tracks are also noticeably shorter than their1997 counterparts, showing that he has learned how to distill theimportant information into a tighter composition, and not waste as muchspace. While the crisp, digital textures Pavlov was exploring in 1997still sound fresh texturally, his subsequent development as a composerand arranger is what will allow him to remain relevant in the future.
Mego
In 1997 Pavlovseemed content to let a consistent rhythmic pattern remain unchangedfor nearly four minutes, as evidenced on "Fracture," however, with2003's "Untitled Smash Hit," the skeletal groove transforms into atechno-esque pattern that most of the preceeding tracks were remotelyhinting at. An entire set of this type of solid 4/4 groove would wearthin quickly, but by gradually building the set to this point, it is awelcome release of the tension that has built up during therhythmically ambiguous first half of the set. "Dynamo Babe" seamlesslykeeps up the pace and sees Pavlov weaving layers of interlocking 16thnote patterns that build up to a distorted ending. The newer set worksbetter because the tracks build off of each other and have a bettersense of cohesion. Much of the early set has a similar feel to hisrecordings released between 1998 and 2000 on Raster-Noton, exploringthe intricacies of single tones and pulses for minutes on end. Hearingthese two sets back to back it is clear that he has since becomeskilled at combining these base sounds into more structurally andcompositionally advanced pieces, which have become more enjoyable forme at least. The recent tracks are also noticeably shorter than their1997 counterparts, showing that he has learned how to distill theimportant information into a tighter composition, and not waste as muchspace. While the crisp, digital textures Pavlov was exploring in 1997still sound fresh texturally, his subsequent development as a composerand arranger is what will allow him to remain relevant in the future.
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