Boomkat Product Review:
Compelling textural electronic experimentation in long form from Californian operative Robert Takahashi Crouch, who considers the relationship between abstract sound and personal resonance on "Jubilee", fizzing from luscious filigree drone to dense, crushing tonal destruction. RIYL Lawrence English, Tim Hecker or Jefre Cantu-Ledesma.
'Jubilee' is a major release for Crouch, arriving four years after his last full-length, the Touch-released 'Sublunar'. He admits in a soul-baring artist statement that it took him an unusually long time to complete; the recording evolved at a time when he was re-assessing his priorities.
So often, loud sound - from metal and noise to so-called power ambient - is used as a way of expressing frustration, or worse, repression. But Crouch uses his shifting dynamics to instead represent pain, anxiety, trauma and transgression. These feelings come from a similar place, but he treats them with sensitivity and bounded distance as he melts from liquid bass drones and glassy electronics in 'A Ritual I' to tectonic-shifting overdriven fuzz in the second part, before shifting into pensive, circling tones on the final act. 'I've been a part of evil doing' provides a breather between the album's two sides, evoking Steve Reich or Philip Glass, before Crouch shifts into more emotional territory for the two part 'Reconciliation'. Here, he hits a more jubilant tone - closer to My Bloody Valentine's noisy stompbox grind, or Jefre Cantu-Ledesma's romantic laptop crunch - and reaches into a ghostly, peaceful shimmer before fading into the aether.
Crouch has found a musical way to process world-defining emotions and experiences, and it shows. Maybe it's not just abstract sound, after all.