KMRU
Dissolution Grip
Boomkat Product Review:
'Dissolution Grip' is KMRU's most expressive solo album yet, inspired by field recordings but using them to guide his kosmiche-fuelled synthwork rather than overwhelm the tracks with referential nods. One for fans of Emeralds, Lawrence English or Fennesz.
In just a few short years, Kenyan sound artist KMRU has built up a startling canon of drone-heavy musical experiments, ranging from the pensive, Editions Mego-released 'Peel' to the cripplingly heavy Aho Ssan collaboration 'Limen', issued last year on Subtext. Somehow, KMRU has found the time to finish a Masters program at Berlin's Universität der Künste, where he was inspired to develop 'Dissolution Grip'. Working with celebrated avant-garde composer Jasmine Guffond, KMRU began to look at waveforms for inspiration and started to wonder about the relevance of the environmental recordings he'd included in so many recordings. For the last couple of years he's been drawn to pure synthesis, so started studying the waveforms of some of his field recordings and mimicking them with synth sounds. Each track on the album then is steered by a real-world environmental recording, but there's little of the original left in the finished piece.
KMRU's process is most evident on 'Along A Wall', which began as a blustery snapshot captured at his parents' place in Nairobi. The sounds of wind shaking the walls of a rickety old shack are transformed into breezy, convulsing drones, the stormy vibrations mutated into subtle tonal fluctuations that give the track its impressive motion. KMRU's end result sounds as cloudy and meditative as Emeralds' 'Solar Bridge', but knowing where it's rooted gives it a personal relevance - we can just about perceive the location, and let it permeate our consciousness. Elsewhere, the title track forms like storm clouds, blowing into view with placid oscillator tones and bursting with simulated rainfall and ragged, turbulent distortion. And 'Till Hurricane Bisect' finds KMRU at his most peaceful, working cracks of expertly-sculpted synthetic sunlight through layers of rumbling noise.
It's like puzzling out an aural illusion trying to work out the physical root of each synthetic sound, and KRMU spikes the challenge with restrained euphoria. Not ambient music exactly, it's patient, meditative sound art that's aware of its history as it peers into the future.
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Boomkat Product Review:
'Dissolution Grip' is KMRU's most expressive solo album yet, inspired by field recordings but using them to guide his kosmiche-fuelled synthwork rather than overwhelm the tracks with referential nods. One for fans of Emeralds, Lawrence English or Fennesz.
In just a few short years, Kenyan sound artist KMRU has built up a startling canon of drone-heavy musical experiments, ranging from the pensive, Editions Mego-released 'Peel' to the cripplingly heavy Aho Ssan collaboration 'Limen', issued last year on Subtext. Somehow, KMRU has found the time to finish a Masters program at Berlin's Universität der Künste, where he was inspired to develop 'Dissolution Grip'. Working with celebrated avant-garde composer Jasmine Guffond, KMRU began to look at waveforms for inspiration and started to wonder about the relevance of the environmental recordings he'd included in so many recordings. For the last couple of years he's been drawn to pure synthesis, so started studying the waveforms of some of his field recordings and mimicking them with synth sounds. Each track on the album then is steered by a real-world environmental recording, but there's little of the original left in the finished piece.
KMRU's process is most evident on 'Along A Wall', which began as a blustery snapshot captured at his parents' place in Nairobi. The sounds of wind shaking the walls of a rickety old shack are transformed into breezy, convulsing drones, the stormy vibrations mutated into subtle tonal fluctuations that give the track its impressive motion. KMRU's end result sounds as cloudy and meditative as Emeralds' 'Solar Bridge', but knowing where it's rooted gives it a personal relevance - we can just about perceive the location, and let it permeate our consciousness. Elsewhere, the title track forms like storm clouds, blowing into view with placid oscillator tones and bursting with simulated rainfall and ragged, turbulent distortion. And 'Till Hurricane Bisect' finds KMRU at his most peaceful, working cracks of expertly-sculpted synthetic sunlight through layers of rumbling noise.
It's like puzzling out an aural illusion trying to work out the physical root of each synthetic sound, and KRMU spikes the challenge with restrained euphoria. Not ambient music exactly, it's patient, meditative sound art that's aware of its history as it peers into the future.
Boomkat Product Review:
'Dissolution Grip' is KMRU's most expressive solo album yet, inspired by field recordings but using them to guide his kosmiche-fuelled synthwork rather than overwhelm the tracks with referential nods. One for fans of Emeralds, Lawrence English or Fennesz.
In just a few short years, Kenyan sound artist KMRU has built up a startling canon of drone-heavy musical experiments, ranging from the pensive, Editions Mego-released 'Peel' to the cripplingly heavy Aho Ssan collaboration 'Limen', issued last year on Subtext. Somehow, KMRU has found the time to finish a Masters program at Berlin's Universität der Künste, where he was inspired to develop 'Dissolution Grip'. Working with celebrated avant-garde composer Jasmine Guffond, KMRU began to look at waveforms for inspiration and started to wonder about the relevance of the environmental recordings he'd included in so many recordings. For the last couple of years he's been drawn to pure synthesis, so started studying the waveforms of some of his field recordings and mimicking them with synth sounds. Each track on the album then is steered by a real-world environmental recording, but there's little of the original left in the finished piece.
KMRU's process is most evident on 'Along A Wall', which began as a blustery snapshot captured at his parents' place in Nairobi. The sounds of wind shaking the walls of a rickety old shack are transformed into breezy, convulsing drones, the stormy vibrations mutated into subtle tonal fluctuations that give the track its impressive motion. KMRU's end result sounds as cloudy and meditative as Emeralds' 'Solar Bridge', but knowing where it's rooted gives it a personal relevance - we can just about perceive the location, and let it permeate our consciousness. Elsewhere, the title track forms like storm clouds, blowing into view with placid oscillator tones and bursting with simulated rainfall and ragged, turbulent distortion. And 'Till Hurricane Bisect' finds KMRU at his most peaceful, working cracks of expertly-sculpted synthetic sunlight through layers of rumbling noise.
It's like puzzling out an aural illusion trying to work out the physical root of each synthetic sound, and KRMU spikes the challenge with restrained euphoria. Not ambient music exactly, it's patient, meditative sound art that's aware of its history as it peers into the future.
Boomkat Product Review:
'Dissolution Grip' is KMRU's most expressive solo album yet, inspired by field recordings but using them to guide his kosmiche-fuelled synthwork rather than overwhelm the tracks with referential nods. One for fans of Emeralds, Lawrence English or Fennesz.
In just a few short years, Kenyan sound artist KMRU has built up a startling canon of drone-heavy musical experiments, ranging from the pensive, Editions Mego-released 'Peel' to the cripplingly heavy Aho Ssan collaboration 'Limen', issued last year on Subtext. Somehow, KMRU has found the time to finish a Masters program at Berlin's Universität der Künste, where he was inspired to develop 'Dissolution Grip'. Working with celebrated avant-garde composer Jasmine Guffond, KMRU began to look at waveforms for inspiration and started to wonder about the relevance of the environmental recordings he'd included in so many recordings. For the last couple of years he's been drawn to pure synthesis, so started studying the waveforms of some of his field recordings and mimicking them with synth sounds. Each track on the album then is steered by a real-world environmental recording, but there's little of the original left in the finished piece.
KMRU's process is most evident on 'Along A Wall', which began as a blustery snapshot captured at his parents' place in Nairobi. The sounds of wind shaking the walls of a rickety old shack are transformed into breezy, convulsing drones, the stormy vibrations mutated into subtle tonal fluctuations that give the track its impressive motion. KMRU's end result sounds as cloudy and meditative as Emeralds' 'Solar Bridge', but knowing where it's rooted gives it a personal relevance - we can just about perceive the location, and let it permeate our consciousness. Elsewhere, the title track forms like storm clouds, blowing into view with placid oscillator tones and bursting with simulated rainfall and ragged, turbulent distortion. And 'Till Hurricane Bisect' finds KMRU at his most peaceful, working cracks of expertly-sculpted synthetic sunlight through layers of rumbling noise.
It's like puzzling out an aural illusion trying to work out the physical root of each synthetic sound, and KRMU spikes the challenge with restrained euphoria. Not ambient music exactly, it's patient, meditative sound art that's aware of its history as it peers into the future.
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Boomkat Product Review:
'Dissolution Grip' is KMRU's most expressive solo album yet, inspired by field recordings but using them to guide his kosmiche-fuelled synthwork rather than overwhelm the tracks with referential nods. One for fans of Emeralds, Lawrence English or Fennesz.
In just a few short years, Kenyan sound artist KMRU has built up a startling canon of drone-heavy musical experiments, ranging from the pensive, Editions Mego-released 'Peel' to the cripplingly heavy Aho Ssan collaboration 'Limen', issued last year on Subtext. Somehow, KMRU has found the time to finish a Masters program at Berlin's Universität der Künste, where he was inspired to develop 'Dissolution Grip'. Working with celebrated avant-garde composer Jasmine Guffond, KMRU began to look at waveforms for inspiration and started to wonder about the relevance of the environmental recordings he'd included in so many recordings. For the last couple of years he's been drawn to pure synthesis, so started studying the waveforms of some of his field recordings and mimicking them with synth sounds. Each track on the album then is steered by a real-world environmental recording, but there's little of the original left in the finished piece.
KMRU's process is most evident on 'Along A Wall', which began as a blustery snapshot captured at his parents' place in Nairobi. The sounds of wind shaking the walls of a rickety old shack are transformed into breezy, convulsing drones, the stormy vibrations mutated into subtle tonal fluctuations that give the track its impressive motion. KMRU's end result sounds as cloudy and meditative as Emeralds' 'Solar Bridge', but knowing where it's rooted gives it a personal relevance - we can just about perceive the location, and let it permeate our consciousness. Elsewhere, the title track forms like storm clouds, blowing into view with placid oscillator tones and bursting with simulated rainfall and ragged, turbulent distortion. And 'Till Hurricane Bisect' finds KMRU at his most peaceful, working cracks of expertly-sculpted synthetic sunlight through layers of rumbling noise.
It's like puzzling out an aural illusion trying to work out the physical root of each synthetic sound, and KRMU spikes the challenge with restrained euphoria. Not ambient music exactly, it's patient, meditative sound art that's aware of its history as it peers into the future.
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