Cutting Together Apart
Matti Gajek descends on STROOM with a suite of ferric electro-acoustic experiments that scrub thru his hazy memories of the GDR era.
On his STROOM debut, Gajek chews thru pop and jazz with dub-pocked radio interference, reanimating his time-clouded recollections of the Berlin Wall falling and West German gabber broadcast over busted speakers.
Asymmetrical low-end vibrations muffle into fictile string sequences on 'Dig It All Up Again', scraping past pitchy vocal snippets and tactile guitar noise, and laptop-bent earworms loop into nonsense over dissociated pads and fretless womps on the polychromatic 'Until It Was Nomore'. There are traces of Krautrock there if you're ready to inspect the material scientifically, but it's more like 'Faust Tapes' versioned by 'Entain'-era Vladislav, a set of seemingly disconnected sessions and asides melted into a long, surging electro-acoustic environment.
Even on the sardonic 'Hardcore Dis-Continuum', Gajek takes the left-hand path, dissolving the introductory saw waves almost immediately and substituting them with free improv squiggles and Slint-like amp fuzz. When he lets his tangled sources bond into song structures - like on the VHS-corrupted 'Slightly Out Of Joint', or the post-rock-ish 'Exist In A Soundless Room' - they almost intuitively fade into the album's background noise. It's not an album to be experienced in pieces, you've got to live with it for the duration to unravel its subtleties.
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Matti Gajek descends on STROOM with a suite of ferric electro-acoustic experiments that scrub thru his hazy memories of the GDR era.
On his STROOM debut, Gajek chews thru pop and jazz with dub-pocked radio interference, reanimating his time-clouded recollections of the Berlin Wall falling and West German gabber broadcast over busted speakers.
Asymmetrical low-end vibrations muffle into fictile string sequences on 'Dig It All Up Again', scraping past pitchy vocal snippets and tactile guitar noise, and laptop-bent earworms loop into nonsense over dissociated pads and fretless womps on the polychromatic 'Until It Was Nomore'. There are traces of Krautrock there if you're ready to inspect the material scientifically, but it's more like 'Faust Tapes' versioned by 'Entain'-era Vladislav, a set of seemingly disconnected sessions and asides melted into a long, surging electro-acoustic environment.
Even on the sardonic 'Hardcore Dis-Continuum', Gajek takes the left-hand path, dissolving the introductory saw waves almost immediately and substituting them with free improv squiggles and Slint-like amp fuzz. When he lets his tangled sources bond into song structures - like on the VHS-corrupted 'Slightly Out Of Joint', or the post-rock-ish 'Exist In A Soundless Room' - they almost intuitively fade into the album's background noise. It's not an album to be experienced in pieces, you've got to live with it for the duration to unravel its subtleties.
Matti Gajek descends on STROOM with a suite of ferric electro-acoustic experiments that scrub thru his hazy memories of the GDR era.
On his STROOM debut, Gajek chews thru pop and jazz with dub-pocked radio interference, reanimating his time-clouded recollections of the Berlin Wall falling and West German gabber broadcast over busted speakers.
Asymmetrical low-end vibrations muffle into fictile string sequences on 'Dig It All Up Again', scraping past pitchy vocal snippets and tactile guitar noise, and laptop-bent earworms loop into nonsense over dissociated pads and fretless womps on the polychromatic 'Until It Was Nomore'. There are traces of Krautrock there if you're ready to inspect the material scientifically, but it's more like 'Faust Tapes' versioned by 'Entain'-era Vladislav, a set of seemingly disconnected sessions and asides melted into a long, surging electro-acoustic environment.
Even on the sardonic 'Hardcore Dis-Continuum', Gajek takes the left-hand path, dissolving the introductory saw waves almost immediately and substituting them with free improv squiggles and Slint-like amp fuzz. When he lets his tangled sources bond into song structures - like on the VHS-corrupted 'Slightly Out Of Joint', or the post-rock-ish 'Exist In A Soundless Room' - they almost intuitively fade into the album's background noise. It's not an album to be experienced in pieces, you've got to live with it for the duration to unravel its subtleties.
Matti Gajek descends on STROOM with a suite of ferric electro-acoustic experiments that scrub thru his hazy memories of the GDR era.
On his STROOM debut, Gajek chews thru pop and jazz with dub-pocked radio interference, reanimating his time-clouded recollections of the Berlin Wall falling and West German gabber broadcast over busted speakers.
Asymmetrical low-end vibrations muffle into fictile string sequences on 'Dig It All Up Again', scraping past pitchy vocal snippets and tactile guitar noise, and laptop-bent earworms loop into nonsense over dissociated pads and fretless womps on the polychromatic 'Until It Was Nomore'. There are traces of Krautrock there if you're ready to inspect the material scientifically, but it's more like 'Faust Tapes' versioned by 'Entain'-era Vladislav, a set of seemingly disconnected sessions and asides melted into a long, surging electro-acoustic environment.
Even on the sardonic 'Hardcore Dis-Continuum', Gajek takes the left-hand path, dissolving the introductory saw waves almost immediately and substituting them with free improv squiggles and Slint-like amp fuzz. When he lets his tangled sources bond into song structures - like on the VHS-corrupted 'Slightly Out Of Joint', or the post-rock-ish 'Exist In A Soundless Room' - they almost intuitively fade into the album's background noise. It's not an album to be experienced in pieces, you've got to live with it for the duration to unravel its subtleties.
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Matti Gajek descends on STROOM with a suite of ferric electro-acoustic experiments that scrub thru his hazy memories of the GDR era.
On his STROOM debut, Gajek chews thru pop and jazz with dub-pocked radio interference, reanimating his time-clouded recollections of the Berlin Wall falling and West German gabber broadcast over busted speakers.
Asymmetrical low-end vibrations muffle into fictile string sequences on 'Dig It All Up Again', scraping past pitchy vocal snippets and tactile guitar noise, and laptop-bent earworms loop into nonsense over dissociated pads and fretless womps on the polychromatic 'Until It Was Nomore'. There are traces of Krautrock there if you're ready to inspect the material scientifically, but it's more like 'Faust Tapes' versioned by 'Entain'-era Vladislav, a set of seemingly disconnected sessions and asides melted into a long, surging electro-acoustic environment.
Even on the sardonic 'Hardcore Dis-Continuum', Gajek takes the left-hand path, dissolving the introductory saw waves almost immediately and substituting them with free improv squiggles and Slint-like amp fuzz. When he lets his tangled sources bond into song structures - like on the VHS-corrupted 'Slightly Out Of Joint', or the post-rock-ish 'Exist In A Soundless Room' - they almost intuitively fade into the album's background noise. It's not an album to be experienced in pieces, you've got to live with it for the duration to unravel its subtleties.