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Herbst9, "Enenylyn"
Drone Records
This German duo must have some understanding of what it means to beuniversal. Their sounds are of sources that are completely unknown tome (though I can describe their qualities) and yet they can evoke asense of comfort and complete familiarity. The way that "Mletkin"begins, I was sure that I was going to face more of the faceless. Thesounds on both of these songs begin darkly, as though the demonic andevil were central to Herbst9's music. As the sounds progress, however,light and simple keyboards play steady one and two note melodies thatfade and drift between eachother. Harmonies begin to phase into thebody of found sounds, sacred melodies, and quiet rattles and soonafter, it's difficult to imagine anything even remotely dangerous orunbearable. Enenylynis a beautiful mixture of the seen and the unseen, the light and thedark, or the mundane and the sacred. "Mletkin" begins as an uneasywhirl through a long and empty shaft; only medical light illuminatesthe walls here and what waits at the end of this drop is black andgrievous. A strange trembling sound fills this shaft until, at last,the fall ends and it empties into a perfect space filled only with themost healing of light. The frog sounds and cosmic rushes of sound allmesh together with the aquatic rumble of enormous caverns and starlightmoans. The movement of the entire song is one of life and death."Mletkin" begins as an undefined mass and, in its attempt to finditself, opens a wound that spills out the most wonderful music. Allthis only to fade away into the undefined again. "Tynemlem" continuesby picking up the aquatic sounds from side one and translating theminto a slightly less dense piece of music. Again, it seems as thoughtHerbst9 likes to move between concepts, never allowing a sense of fearto linger for too long, and never letting the aura of life in thekeyboards stand alone. As a strange mud or thick liquid boils in acauldron, a slow steam builds in pipes layered just beneath the groundand pebbles roll about on the floor through the volition of their ownwill. Just as new and recognizable sounds begin to breathe themselvesto life, a faint and strongly emotional melody begins to cycle in thebackground, growing louder with each repetition. A river of natural andsynthetic roars, groans, and hushes sketch themselves over this melodyuntil the piece collapses over the edge of a waterfall in a sudden andexplosive death. Once again I find this isn't enough: I'm wishing thatthese fifteen minutes could be expanded into a full fourty or fifty.
This German duo must have some understanding of what it means to beuniversal. Their sounds are of sources that are completely unknown tome (though I can describe their qualities) and yet they can evoke asense of comfort and complete familiarity. The way that "Mletkin"begins, I was sure that I was going to face more of the faceless. Thesounds on both of these songs begin darkly, as though the demonic andevil were central to Herbst9's music. As the sounds progress, however,light and simple keyboards play steady one and two note melodies thatfade and drift between eachother. Harmonies begin to phase into thebody of found sounds, sacred melodies, and quiet rattles and soonafter, it's difficult to imagine anything even remotely dangerous orunbearable. Enenylynis a beautiful mixture of the seen and the unseen, the light and thedark, or the mundane and the sacred. "Mletkin" begins as an uneasywhirl through a long and empty shaft; only medical light illuminatesthe walls here and what waits at the end of this drop is black andgrievous. A strange trembling sound fills this shaft until, at last,the fall ends and it empties into a perfect space filled only with themost healing of light. The frog sounds and cosmic rushes of sound allmesh together with the aquatic rumble of enormous caverns and starlightmoans. The movement of the entire song is one of life and death."Mletkin" begins as an undefined mass and, in its attempt to finditself, opens a wound that spills out the most wonderful music. Allthis only to fade away into the undefined again. "Tynemlem" continuesby picking up the aquatic sounds from side one and translating theminto a slightly less dense piece of music. Again, it seems as thoughtHerbst9 likes to move between concepts, never allowing a sense of fearto linger for too long, and never letting the aura of life in thekeyboards stand alone. As a strange mud or thick liquid boils in acauldron, a slow steam builds in pipes layered just beneath the groundand pebbles roll about on the floor through the volition of their ownwill. Just as new and recognizable sounds begin to breathe themselvesto life, a faint and strongly emotional melody begins to cycle in thebackground, growing louder with each repetition. A river of natural andsynthetic roars, groans, and hushes sketch themselves over this melodyuntil the piece collapses over the edge of a waterfall in a sudden andexplosive death. Once again I find this isn't enough: I'm wishing thatthese fifteen minutes could be expanded into a full fourty or fifty.
