Boomkat Product Review:
Marc Richter returns to Thrill Jockey with another charged set of psychedelically manipulated samples, acidic electronics and fogged-out acoustic instrumentation, blurring the line between real and the artificial sound sources.
While Richter was working on 'At Zeenath Parallel Heavens', he noticed that the AI technology that has emerged over the last few months and years (utilized most recently by artists like patten) was not too dissimilar from his own techniques. Richter has long worked in a surreal space, using theatrics to guide his alchemical concoctions of samples, instrumentation, synthesis and musical subterfuge, confusing the listener woth a mixture of samples, MIDI patterns and real instruments,
'At Zeenath Parallel' is a shamelessly ecstatic record that avoids the po-faced spiritualism of the "serious music" set, preferring to show an alternate reality that's full of contradictions and laced with brown acid. Richter's smart, oblique narrative is easy to follow but difficult to unpick, invigorating to listen to but struck through by tension and anxiety. From the introductory moments of 'Then Began the Harp to Fashion', we're in well-worn but inviting territory, a melted slop of strings, wailing electronics and free drumming. It might be jazz, or improvised drone records, but Richter's mischievousness gives it a quality all of its own. Similarly, on 'Never Heed the Tongues of Wooers' (those titles, eh?) he carves up field recordings and illusory drums, splitting the difference between basement noise and proggy expression.
On 'La société des rêves' a childlike French voice is looped alongside offbeat choral riffs, disorienting pads and dissociated chatter. It's music that sounds like a dream or a nightmare; exactly which is up to you to work out.