Filther
Filther
Boomkat Product Review:
Ludwig Wandinger makes his 3XL debut as Filther, breathing blunted traces of dream pop and post-rock into a fractal assemblage of modern concepts and waking up classic guitar music with effervescent synths, dissociated samples and serpentine rhythms. Properly good stuff whether yr into Cocteau Twins, Vladislav Delay, Naemi, Romance or Clams Casino.
Berlin-based operative Wandinger's a familiar fixture on the local scene, and this year seems like his for the taking. His Filther debut is the perfect fit on 3XL, following on from Naemi's ethereal 'Dust Devil' and further bridging the gap between experimental ambient music and vintage dream pop. And he doesn't take the simple route, his productions sound lush, fresh and varied - the starting point seems to be guitar music, but that's often not where we end up. On the opener 'Even', familiar faded riffs are tangled up with spectral voices that curve around the spaces between, dissolving into punctuating chimes, and on 'Take it or leave it', the chipmunked moans hover over tape-saturated piano melodies and frozen pads. The distant memory of slowcore is there somewhere in the mix, but Wandinger's influences appear to be more modern: from cloud rap to hyperpop and beyond.
'All I wanna do' is a spongy pop moment that's led by a vocal from Ronja and sounds like it could have been plucked from Clams Casino's iconic 'Instrumentals' mixtape with its dusty, uneven beat and whirling loops, while 'Reve' takes the same basic framework and abstracts the ideas further, losing the drums in a soup of pitchy voices and levitational horns. But Wandinger also proves himself adept at stripping things to the bone: 'Heating' takes Slint's 'Spiderland' blueprint and slows it down further, marrying slack, low-slung strums to brushy drums and hallucinatory FX. There's a sublime dreaminess to everything, whether he's decorating his soundscapes with romantic piano phrases or casually updating the Cocteau Twins' playbook. On 'Blissin' we're warmed by Guthrie-style guitars and a beat that's somewhere between Low and DJ Screw, and on 'Anime', he does exactly what he says, filtering Satie's melancholy flutters into something that sounds as if it'd fit into a Miyazake movie.
On the final track 'Equilibrium', Wandinger brings everything together and ties it up with a bow, dissolving ghostly voices into vaporous pads before he introduces a piano line that'll have your heart liquefying. Gorgeous.
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Boomkat Product Review:
Ludwig Wandinger makes his 3XL debut as Filther, breathing blunted traces of dream pop and post-rock into a fractal assemblage of modern concepts and waking up classic guitar music with effervescent synths, dissociated samples and serpentine rhythms. Properly good stuff whether yr into Cocteau Twins, Vladislav Delay, Naemi, Romance or Clams Casino.
Berlin-based operative Wandinger's a familiar fixture on the local scene, and this year seems like his for the taking. His Filther debut is the perfect fit on 3XL, following on from Naemi's ethereal 'Dust Devil' and further bridging the gap between experimental ambient music and vintage dream pop. And he doesn't take the simple route, his productions sound lush, fresh and varied - the starting point seems to be guitar music, but that's often not where we end up. On the opener 'Even', familiar faded riffs are tangled up with spectral voices that curve around the spaces between, dissolving into punctuating chimes, and on 'Take it or leave it', the chipmunked moans hover over tape-saturated piano melodies and frozen pads. The distant memory of slowcore is there somewhere in the mix, but Wandinger's influences appear to be more modern: from cloud rap to hyperpop and beyond.
'All I wanna do' is a spongy pop moment that's led by a vocal from Ronja and sounds like it could have been plucked from Clams Casino's iconic 'Instrumentals' mixtape with its dusty, uneven beat and whirling loops, while 'Reve' takes the same basic framework and abstracts the ideas further, losing the drums in a soup of pitchy voices and levitational horns. But Wandinger also proves himself adept at stripping things to the bone: 'Heating' takes Slint's 'Spiderland' blueprint and slows it down further, marrying slack, low-slung strums to brushy drums and hallucinatory FX. There's a sublime dreaminess to everything, whether he's decorating his soundscapes with romantic piano phrases or casually updating the Cocteau Twins' playbook. On 'Blissin' we're warmed by Guthrie-style guitars and a beat that's somewhere between Low and DJ Screw, and on 'Anime', he does exactly what he says, filtering Satie's melancholy flutters into something that sounds as if it'd fit into a Miyazake movie.
On the final track 'Equilibrium', Wandinger brings everything together and ties it up with a bow, dissolving ghostly voices into vaporous pads before he introduces a piano line that'll have your heart liquefying. Gorgeous.
Boomkat Product Review:
Ludwig Wandinger makes his 3XL debut as Filther, breathing blunted traces of dream pop and post-rock into a fractal assemblage of modern concepts and waking up classic guitar music with effervescent synths, dissociated samples and serpentine rhythms. Properly good stuff whether yr into Cocteau Twins, Vladislav Delay, Naemi, Romance or Clams Casino.
Berlin-based operative Wandinger's a familiar fixture on the local scene, and this year seems like his for the taking. His Filther debut is the perfect fit on 3XL, following on from Naemi's ethereal 'Dust Devil' and further bridging the gap between experimental ambient music and vintage dream pop. And he doesn't take the simple route, his productions sound lush, fresh and varied - the starting point seems to be guitar music, but that's often not where we end up. On the opener 'Even', familiar faded riffs are tangled up with spectral voices that curve around the spaces between, dissolving into punctuating chimes, and on 'Take it or leave it', the chipmunked moans hover over tape-saturated piano melodies and frozen pads. The distant memory of slowcore is there somewhere in the mix, but Wandinger's influences appear to be more modern: from cloud rap to hyperpop and beyond.
'All I wanna do' is a spongy pop moment that's led by a vocal from Ronja and sounds like it could have been plucked from Clams Casino's iconic 'Instrumentals' mixtape with its dusty, uneven beat and whirling loops, while 'Reve' takes the same basic framework and abstracts the ideas further, losing the drums in a soup of pitchy voices and levitational horns. But Wandinger also proves himself adept at stripping things to the bone: 'Heating' takes Slint's 'Spiderland' blueprint and slows it down further, marrying slack, low-slung strums to brushy drums and hallucinatory FX. There's a sublime dreaminess to everything, whether he's decorating his soundscapes with romantic piano phrases or casually updating the Cocteau Twins' playbook. On 'Blissin' we're warmed by Guthrie-style guitars and a beat that's somewhere between Low and DJ Screw, and on 'Anime', he does exactly what he says, filtering Satie's melancholy flutters into something that sounds as if it'd fit into a Miyazake movie.
On the final track 'Equilibrium', Wandinger brings everything together and ties it up with a bow, dissolving ghostly voices into vaporous pads before he introduces a piano line that'll have your heart liquefying. Gorgeous.
Boomkat Product Review:
Ludwig Wandinger makes his 3XL debut as Filther, breathing blunted traces of dream pop and post-rock into a fractal assemblage of modern concepts and waking up classic guitar music with effervescent synths, dissociated samples and serpentine rhythms. Properly good stuff whether yr into Cocteau Twins, Vladislav Delay, Naemi, Romance or Clams Casino.
Berlin-based operative Wandinger's a familiar fixture on the local scene, and this year seems like his for the taking. His Filther debut is the perfect fit on 3XL, following on from Naemi's ethereal 'Dust Devil' and further bridging the gap between experimental ambient music and vintage dream pop. And he doesn't take the simple route, his productions sound lush, fresh and varied - the starting point seems to be guitar music, but that's often not where we end up. On the opener 'Even', familiar faded riffs are tangled up with spectral voices that curve around the spaces between, dissolving into punctuating chimes, and on 'Take it or leave it', the chipmunked moans hover over tape-saturated piano melodies and frozen pads. The distant memory of slowcore is there somewhere in the mix, but Wandinger's influences appear to be more modern: from cloud rap to hyperpop and beyond.
'All I wanna do' is a spongy pop moment that's led by a vocal from Ronja and sounds like it could have been plucked from Clams Casino's iconic 'Instrumentals' mixtape with its dusty, uneven beat and whirling loops, while 'Reve' takes the same basic framework and abstracts the ideas further, losing the drums in a soup of pitchy voices and levitational horns. But Wandinger also proves himself adept at stripping things to the bone: 'Heating' takes Slint's 'Spiderland' blueprint and slows it down further, marrying slack, low-slung strums to brushy drums and hallucinatory FX. There's a sublime dreaminess to everything, whether he's decorating his soundscapes with romantic piano phrases or casually updating the Cocteau Twins' playbook. On 'Blissin' we're warmed by Guthrie-style guitars and a beat that's somewhere between Low and DJ Screw, and on 'Anime', he does exactly what he says, filtering Satie's melancholy flutters into something that sounds as if it'd fit into a Miyazake movie.
On the final track 'Equilibrium', Wandinger brings everything together and ties it up with a bow, dissolving ghostly voices into vaporous pads before he introduces a piano line that'll have your heart liquefying. Gorgeous.
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