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Thrill Jockey
I have been waiting for Markus Popp to make a record like this for so long! His appearance on Gastr Del Sol's Camofleurgave me taste of what Popp would do when faced with a singer-songwritercollaboration, but while that contribution was effective, it was purelysupplemental. Popp's variety of remixes show the artist closer to hisunique Oval-shaped niche, but often fail to evoke anything more than apicture of Popp's struggle to fit the original song to his own unsuiteddevices. So, Popp's collaboration with Japanese chanteuse Eri Toyoda,is a lot like the Oval remix canon in that every bit of sound bends,and eventually breaks, under the pressure of Popp's established style.The difference, however, is that Toyoda's songs lend themselves sogracefully to her bandmate's fractured aesthetic that the result isboth different, and on par with anything Popp has produced so far.Toyoda's soothing guitar, vocals, and organ weave their autumnal motifsthrough familiar rolling static and panes of gleaming digital noisewith the weightlessness and relaxed flow of improvisation; they help tosoften the pointed bursts and taut clusters of recent Oval withoutlosing Popp's unique tension and mystique. CD skips are nowhere to befound, replaced by a rich, organic palette and warm low-end. Thelistening experience's great pleasure comes in the impossibility oflocating the origins of many of the sounds. Toyoda's vocals proveremarkably adaptable to the complexities of each track and are oftendifficult to locate among the layered warbling and whistling soundsthat appear throughout. Though the subtle beauty and fresh melodicachievements of this record may not surprise fans of Microstoria andearly Oval, it would be hard stay unimpressed by the level ofintegration achieved. So is the sound of truly singular artistsengaged in a tender, meticulous, and fruitful dialogue with predictablygorgeous results.
I have been waiting for Markus Popp to make a record like this for so long! His appearance on Gastr Del Sol's Camofleurgave me taste of what Popp would do when faced with a singer-songwritercollaboration, but while that contribution was effective, it was purelysupplemental. Popp's variety of remixes show the artist closer to hisunique Oval-shaped niche, but often fail to evoke anything more than apicture of Popp's struggle to fit the original song to his own unsuiteddevices. So, Popp's collaboration with Japanese chanteuse Eri Toyoda,is a lot like the Oval remix canon in that every bit of sound bends,and eventually breaks, under the pressure of Popp's established style.The difference, however, is that Toyoda's songs lend themselves sogracefully to her bandmate's fractured aesthetic that the result isboth different, and on par with anything Popp has produced so far.Toyoda's soothing guitar, vocals, and organ weave their autumnal motifsthrough familiar rolling static and panes of gleaming digital noisewith the weightlessness and relaxed flow of improvisation; they help tosoften the pointed bursts and taut clusters of recent Oval withoutlosing Popp's unique tension and mystique. CD skips are nowhere to befound, replaced by a rich, organic palette and warm low-end. Thelistening experience's great pleasure comes in the impossibility oflocating the origins of many of the sounds. Toyoda's vocals proveremarkably adaptable to the complexities of each track and are oftendifficult to locate among the layered warbling and whistling soundsthat appear throughout. Though the subtle beauty and fresh melodicachievements of this record may not surprise fans of Microstoria andearly Oval, it would be hard stay unimpressed by the level ofintegration achieved. So is the sound of truly singular artistsengaged in a tender, meticulous, and fruitful dialogue with predictablygorgeous results.
