Boomkat Product Review:
Drone/\noise alchemist Daniel Menche fucks with your proprioceptions in the cosmic unbalancing of his latest for Sige Records.
Getting right down to fundamentals, Menche grasps the idea of upending the laws of physics with both hands and a real head for gyroscopic dynamics. Across two powerfully physical and incisively psychoactive parts weighing in around 40 minutes in total, Menche spends the first half dissolving the listener’s centre of gravity with immersively rich subharmonic bass and deliquescent bell tonalities that dematerialise into polymetric swells of noise recalling Cam Deas’ ‘Time Exercises’, before stranding heads on the gentler B-side in a space-scaping swell of razor-picked strings and smeared, guttural bass that ends with an effect like being pulled in every direction at once. Unbuckle your mind and dive right in.
“The title of Melting Gravity refers to an allegory on the human pursuit of transcendence with all of its connotations to weightlessness, ascension, flight, out-of-body experiences, and just getting high. Gravity, on the other hand, becomes that which negates and nullifies those transcendent pursuits. In the context of this particular allegory, gravity is the devil. Music, long a vehicle aimed towards transcendent ideals, becomes the weapon to defeat gravity, to defeat the devil. Daniel Menche wields the weapon of music in composing the mercurial grandeur that is Melting Gravity.
Implementing an elegant arc of acceleration and dissolve, Menche presents a slow-motion tumble of drones from his signature manipulation of FM synthesis, oscillators, and sustained tones from various stringed instruments. The tangles and tendrils of these extended frequencies are bright and liquid, rich in harmonic complexities though mottled with a scrap metal discord. Menche balances these slippery, luminous overtones with a dub-inspired lattice of recursive bass tones. Read as an industrial mantra or as amplified minimalism, Melting Gravity stands as an exemplary work in Menche’s storied catalogue of recordings.”