Boomkat Product Review:
Cult/anonymous entity Remer Cier follows that super collectable debut for YOUTH with a new tape featuring almost two hours of absorbing, Eastern-facing and complexly interwoven collage pieces with London techno bod and painter Deepart, this time on a self-released tip.
A key figure in contemporary pop who shall remain incognito for now, Remer Cier served one of 2021’s most politicised curveballs with a collaged tapestry of original music and sampled vox from Mia Mottley and Trevor Noah. The follow-up ‘Échange 1-1’ only deepens the project's mystery with two sides of mindfully absorbing improvisation on subcontinental themes, subtly juxtaposed with samples of James Stinson's mother Helen Stinson, Fred Moten, YouTube summaries of Derrida, and Mantha Diawara preaching about Édouard Glissant on The Politics of Relation. Ayyye, it’s another unique proposition to say the least, and one surely destined for the most hard-to-file sections of your tape shelves.
The difference between the first Remer Cier tape and ‘Échange 1-1’ can be attributed to the presence of Deepart, a key London DJ/producer behind the first release on Rush Hour, and co-organiser of the seminal and hugely influential CDR events at Plastic People, where Remer Cier cut their teeth in the early ‘00s. After taking divergent paths over the decades since then, with Deepart graduating from RCA as a painter, and Remer Cier operating behind the curtain of contemporary pop and electronic music, their energies collided a few years ago during 3 days of spirited improv at Beaconsfield Gallery, Vauxhall, to produce this captivating swirl of just-intoned strings, dubbed tabla, and gauzy philosophies.
On the A-side we hear ‘Monolithe’, a single 50 minute improv for dubbed out, psychedelic raga tape loops and nehari-peppery pulses keening along their own timeline. Aesthetic comparisons with Alice Coltrane and Terry Riley are surely warranted as the piece proceeds, but its more fractal nature places it closer to an everywhere-all-at-once now with uncanny effect. It also feels like spiritual prep for the B-side’s series of more reflective, fractured vignettes of silver hazy and rhythmelodic music, underlining a procession of voices from US cultural theorist Moten to Malian polymath Diawara in the most beguiling manner - rewarding many repeat listens.