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Pole
Mute
Expanding on and experimenting with a given style is an artist's right.Just ask John Zorn. But what happens when an influential artists delvesinto unoriginal, boring territory? Take Pole as an obvious example.Stefan Betke's first three releases embodied a minimalist, asceticaesthetic, from the atmospheric crackles of his broken Walfdorf 4-Polefilter unit to the album names themselves. Though he may not haveinvented the notion of incorporating static sounds into a dubframework, he clearly spearheaded the musical trend that would take onsuch names as "clicks and cuts" and "glitch." By his '3' album,however, many critics felt that Betke was a one trick pony, havingmaxxed out the potential of his style. So naturally we should expectthe artist to expand and experiment. After the stylistic cues of hisrecent '90/90' and '45/45' EPs, as well as the eclectic themecompilations on his ~scape imprint, the sound of his latest full-lengthshould not surprise those who have been keeping up. Still, that doesn'tmean we shouldn't feel disappointed. Here's an artist who could havepotentially added more organic roots and reggae elements into hismusic, progressing further in the natural direction his music hadseemed to take after the first trilogy. Insteaad, we get a starkdigression, where the underlying pops and crackles have been wipedclean and out-of-place percussive, instrumental, and even vocalelements have been included. A long way down the road from the glitchmovement, this self-title album reeks of pandering to a crossover indiehip hop scene without the b-boy comprehension of a Prefuse 73 or aDabrye. Def Poetry riffs from rapper Fat Jon come across awkward andlost over Betke's uneasy new musical failure. In layman's terms, Itried to like this. Really. I did. But it sucks. It just sucks.
Expanding on and experimenting with a given style is an artist's right.Just ask John Zorn. But what happens when an influential artists delvesinto unoriginal, boring territory? Take Pole as an obvious example.Stefan Betke's first three releases embodied a minimalist, asceticaesthetic, from the atmospheric crackles of his broken Walfdorf 4-Polefilter unit to the album names themselves. Though he may not haveinvented the notion of incorporating static sounds into a dubframework, he clearly spearheaded the musical trend that would take onsuch names as "clicks and cuts" and "glitch." By his '3' album,however, many critics felt that Betke was a one trick pony, havingmaxxed out the potential of his style. So naturally we should expectthe artist to expand and experiment. After the stylistic cues of hisrecent '90/90' and '45/45' EPs, as well as the eclectic themecompilations on his ~scape imprint, the sound of his latest full-lengthshould not surprise those who have been keeping up. Still, that doesn'tmean we shouldn't feel disappointed. Here's an artist who could havepotentially added more organic roots and reggae elements into hismusic, progressing further in the natural direction his music hadseemed to take after the first trilogy. Insteaad, we get a starkdigression, where the underlying pops and crackles have been wipedclean and out-of-place percussive, instrumental, and even vocalelements have been included. A long way down the road from the glitchmovement, this self-title album reeks of pandering to a crossover indiehip hop scene without the b-boy comprehension of a Prefuse 73 or aDabrye. Def Poetry riffs from rapper Fat Jon come across awkward andlost over Betke's uneasy new musical failure. In layman's terms, Itried to like this. Really. I did. But it sucks. It just sucks. samples:
