Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.
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Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.
Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.
Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.
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Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.
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Carsten Nicolai's third 'HYbr:ID' album is another collaboration with choreographer Richard Siegal, this time an icy, Noh theatre-inspired soundtrack to 2022's 'Ballet of (Dis)obedience'.
Like its predecessors, 'HYbr:ID III' is best experienced as a complete work, rather than individual tracks. Nicolai looked to Japanese theatre this time (Siegel's dance performance was based on Shuudan koudou, the art of synchronized precision walking), and rejected precise musical rules. Despite this, the music is aesthetically in line with his previous scores, shifting between lengthy rhythmic works and more glacial, beatless experiments. Opener 'Noh Talk' is a good reflection of Nicolai's research into medieval artform; often deeply stylized, it's characterized by slow movement, which Nicolai represents with pinprick synth tones and drawn-out drones.
This methodology is harder to pick out in his more expected productions like 'Sync Dark' and 'Sync Inter'. These pitch-black, twitchy glitch workouts will no-doubt sway fans of Nicolai's earlier Alva Noto gear, but our attention's been piqued by the subtler, more blurry compositions. 'Obsessive Behaviour Night' barely appears from a bed of windy ambience, burying its sparse woodblock hits in noisy, dubby synths, and on the brilliant 'Script Sollitude', Nicolai's glitches swerve off the grid, sounding like crumpling paper against his pristine, iceblock synth tones. And although 'Script Broken Conversation' is rooted in rhythm, it teases itself apart from its foundations, cutting into the atmosphere and mimicking Noh's distinctive mannerisms. It's some of Nicolai's most surprising and rewarding music in years.