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Tomas Krakowiak, "La Ciutat Ets Tu"
In some ways this work is reminiscent to the Gunter Muller disc I covered last year as it presents a percussionist using his instruments in a way that mostly does not resemble drums or anything usually associated with the style. Instead it is heavily processed and treated to take on an entirely different quality and tone. It is a very interesting work, but the presentation is almost a bit too familiar.
It isn't entirely impossible to recognize some of what is traditionally associated with drums, sonically, at least, through this album. There are some traditional drum skin rattles smattered across here and there, but not too obvious unless the effort is made to hear them. Instead there is significantly more incidents where the sound is shaped into a more dense collage, like the dense roar that is the title track which eventually resembles a massive stampede of wildebeests moving across the plains. "Drgacze" is a notable contrast to the verdant visuals of the aforementioned track, the rattles come across like an industrial jackhammer before a metal percussion section comes in that sounds like a gamelan band being physically assaulted during their performance.
The tracks in which the sounds are even less identifiable are, in my opinion, more fascinating. The rather simplistic, in a structural capacity at least, "O_vbrdub," is a slow moving mudslide of organic sounds: a thick and sticky slow motion avalanche of textual sound. At the same time, "Sink" rests upon a bed of harsh siren like loops and scraping high end rattles of noise alongside a digital micro-sample buzzing and cutting, slicing metallic sounds.
The album ends with the most dissonant tracks. "Aigua Per A" features a violent buzzing noise that wouldn't have been out of place on a peak-era Whitehouse album with sustained digital micro-sample stuttering and mechanical elements. The disc closes on an especially dark note, the low end rumble with clattering cymbals of "Diners Per N," which is nothing but sinister and looming
Musically, it is a very unique experiment that is extremely diverse without being the work of a dilettante. While it might seem to lack any specific thematic cohesion or overarching structure, it remains consistently interesting through its duration. The packaging, however, is coming from a much less unique background. While it is attractive, the matchbook folding cover is very, very close to the Utech label's Arc series of discs from last year, right down to the die cut black sleeve that holds the CD. I'm sure this something done for cost effective reasons, it is too similar to the Utech stuff to go unmentioned. Again, no slight against the artist for this, but it had to be said. Sorry.
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