KMRU
Natur
Boomkat Product Review:
KMRU's most visceral and satisfying full-length, 'Natur' is a departure from his more pastoral, drone-based work, tweaking invisible electromagnetic squeals and rumbles into searing noisescapes and evocative orchestral moans. Seriously elevated gear, essential listening for anyone into Christina Kubisch, Fennesz or Kassel Jaeger.
When he was working on 'Natur' back in 2022, KMRU found himself hung up on the difference in noise between Berlin where he now lives, and Nairobi where he grew up. At home, he was in a wide open, chaotic landscape where whirring generators were swallowed into a din of natural sounds; in Germany meanwhile, it felt manicured - nature was hidden behind perfectly sculpted streets and tower blocks, as if sound had been internalised. He reflects this reality by exposing the invisible, using specialist microphones to record the electromagnetic din that's constantly buzzing around all of us.
It's a nicely paced, cautious journey, introducing the soundscape on the bone-rattling 'Natur 1' as a sequence of static-drenched, dissonant transmissions before adding a level of order on 'Natur 2'. Here, his vision begins to take shape: clouds of white noise part to reveal silence, and the unsettling feedback squeals begin to form harmonies. But KMRU never dips into what might be described as ambience; his most full-on deployment to date, he uses the dynamic intensity of extreme noise to help characterize his theme, shocking us into a realization that we're surrounded by constant electronic chatter.
And after reaching an ear-numbing, bass-heavy crescendo, he pulls back a little on 'Natur 3', mixing subtle environmental sounds into the insectoid glitches and electrically-charged fizzes. Using flute-like synthesized dips and wails, KMRU creates a bizarre, sci-fi tinted atmosphere, using his unique perspective to step away from the genre's fantasy orientalisation towards a prophetic inside-out view of a possible global future. It all comes to a head on the epic 20-minute closing track 'Natur 5'; where birdsong has evolved into a cybernetic churr, into melancholy whines that slip and slide alongside powerful, punctuating bass thumps. He strips each sound for parts, pulling out the low end and letting the electriity buzz to the surface once again.
It's powerful material that works as a neat thematic companion piece to Christina Kubisch's relatively sedate electromagnetic symphony 'Stromsänger'.
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Boomkat Product Review:
KMRU's most visceral and satisfying full-length, 'Natur' is a departure from his more pastoral, drone-based work, tweaking invisible electromagnetic squeals and rumbles into searing noisescapes and evocative orchestral moans. Seriously elevated gear, essential listening for anyone into Christina Kubisch, Fennesz or Kassel Jaeger.
When he was working on 'Natur' back in 2022, KMRU found himself hung up on the difference in noise between Berlin where he now lives, and Nairobi where he grew up. At home, he was in a wide open, chaotic landscape where whirring generators were swallowed into a din of natural sounds; in Germany meanwhile, it felt manicured - nature was hidden behind perfectly sculpted streets and tower blocks, as if sound had been internalised. He reflects this reality by exposing the invisible, using specialist microphones to record the electromagnetic din that's constantly buzzing around all of us.
It's a nicely paced, cautious journey, introducing the soundscape on the bone-rattling 'Natur 1' as a sequence of static-drenched, dissonant transmissions before adding a level of order on 'Natur 2'. Here, his vision begins to take shape: clouds of white noise part to reveal silence, and the unsettling feedback squeals begin to form harmonies. But KMRU never dips into what might be described as ambience; his most full-on deployment to date, he uses the dynamic intensity of extreme noise to help characterize his theme, shocking us into a realization that we're surrounded by constant electronic chatter.
And after reaching an ear-numbing, bass-heavy crescendo, he pulls back a little on 'Natur 3', mixing subtle environmental sounds into the insectoid glitches and electrically-charged fizzes. Using flute-like synthesized dips and wails, KMRU creates a bizarre, sci-fi tinted atmosphere, using his unique perspective to step away from the genre's fantasy orientalisation towards a prophetic inside-out view of a possible global future. It all comes to a head on the epic 20-minute closing track 'Natur 5'; where birdsong has evolved into a cybernetic churr, into melancholy whines that slip and slide alongside powerful, punctuating bass thumps. He strips each sound for parts, pulling out the low end and letting the electriity buzz to the surface once again.
It's powerful material that works as a neat thematic companion piece to Christina Kubisch's relatively sedate electromagnetic symphony 'Stromsänger'.
Boomkat Product Review:
KMRU's most visceral and satisfying full-length, 'Natur' is a departure from his more pastoral, drone-based work, tweaking invisible electromagnetic squeals and rumbles into searing noisescapes and evocative orchestral moans. Seriously elevated gear, essential listening for anyone into Christina Kubisch, Fennesz or Kassel Jaeger.
When he was working on 'Natur' back in 2022, KMRU found himself hung up on the difference in noise between Berlin where he now lives, and Nairobi where he grew up. At home, he was in a wide open, chaotic landscape where whirring generators were swallowed into a din of natural sounds; in Germany meanwhile, it felt manicured - nature was hidden behind perfectly sculpted streets and tower blocks, as if sound had been internalised. He reflects this reality by exposing the invisible, using specialist microphones to record the electromagnetic din that's constantly buzzing around all of us.
It's a nicely paced, cautious journey, introducing the soundscape on the bone-rattling 'Natur 1' as a sequence of static-drenched, dissonant transmissions before adding a level of order on 'Natur 2'. Here, his vision begins to take shape: clouds of white noise part to reveal silence, and the unsettling feedback squeals begin to form harmonies. But KMRU never dips into what might be described as ambience; his most full-on deployment to date, he uses the dynamic intensity of extreme noise to help characterize his theme, shocking us into a realization that we're surrounded by constant electronic chatter.
And after reaching an ear-numbing, bass-heavy crescendo, he pulls back a little on 'Natur 3', mixing subtle environmental sounds into the insectoid glitches and electrically-charged fizzes. Using flute-like synthesized dips and wails, KMRU creates a bizarre, sci-fi tinted atmosphere, using his unique perspective to step away from the genre's fantasy orientalisation towards a prophetic inside-out view of a possible global future. It all comes to a head on the epic 20-minute closing track 'Natur 5'; where birdsong has evolved into a cybernetic churr, into melancholy whines that slip and slide alongside powerful, punctuating bass thumps. He strips each sound for parts, pulling out the low end and letting the electriity buzz to the surface once again.
It's powerful material that works as a neat thematic companion piece to Christina Kubisch's relatively sedate electromagnetic symphony 'Stromsänger'.
Boomkat Product Review:
KMRU's most visceral and satisfying full-length, 'Natur' is a departure from his more pastoral, drone-based work, tweaking invisible electromagnetic squeals and rumbles into searing noisescapes and evocative orchestral moans. Seriously elevated gear, essential listening for anyone into Christina Kubisch, Fennesz or Kassel Jaeger.
When he was working on 'Natur' back in 2022, KMRU found himself hung up on the difference in noise between Berlin where he now lives, and Nairobi where he grew up. At home, he was in a wide open, chaotic landscape where whirring generators were swallowed into a din of natural sounds; in Germany meanwhile, it felt manicured - nature was hidden behind perfectly sculpted streets and tower blocks, as if sound had been internalised. He reflects this reality by exposing the invisible, using specialist microphones to record the electromagnetic din that's constantly buzzing around all of us.
It's a nicely paced, cautious journey, introducing the soundscape on the bone-rattling 'Natur 1' as a sequence of static-drenched, dissonant transmissions before adding a level of order on 'Natur 2'. Here, his vision begins to take shape: clouds of white noise part to reveal silence, and the unsettling feedback squeals begin to form harmonies. But KMRU never dips into what might be described as ambience; his most full-on deployment to date, he uses the dynamic intensity of extreme noise to help characterize his theme, shocking us into a realization that we're surrounded by constant electronic chatter.
And after reaching an ear-numbing, bass-heavy crescendo, he pulls back a little on 'Natur 3', mixing subtle environmental sounds into the insectoid glitches and electrically-charged fizzes. Using flute-like synthesized dips and wails, KMRU creates a bizarre, sci-fi tinted atmosphere, using his unique perspective to step away from the genre's fantasy orientalisation towards a prophetic inside-out view of a possible global future. It all comes to a head on the epic 20-minute closing track 'Natur 5'; where birdsong has evolved into a cybernetic churr, into melancholy whines that slip and slide alongside powerful, punctuating bass thumps. He strips each sound for parts, pulling out the low end and letting the electriity buzz to the surface once again.
It's powerful material that works as a neat thematic companion piece to Christina Kubisch's relatively sedate electromagnetic symphony 'Stromsänger'.
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Boomkat Product Review:
KMRU's most visceral and satisfying full-length, 'Natur' is a departure from his more pastoral, drone-based work, tweaking invisible electromagnetic squeals and rumbles into searing noisescapes and evocative orchestral moans. Seriously elevated gear, essential listening for anyone into Christina Kubisch, Fennesz or Kassel Jaeger.
When he was working on 'Natur' back in 2022, KMRU found himself hung up on the difference in noise between Berlin where he now lives, and Nairobi where he grew up. At home, he was in a wide open, chaotic landscape where whirring generators were swallowed into a din of natural sounds; in Germany meanwhile, it felt manicured - nature was hidden behind perfectly sculpted streets and tower blocks, as if sound had been internalised. He reflects this reality by exposing the invisible, using specialist microphones to record the electromagnetic din that's constantly buzzing around all of us.
It's a nicely paced, cautious journey, introducing the soundscape on the bone-rattling 'Natur 1' as a sequence of static-drenched, dissonant transmissions before adding a level of order on 'Natur 2'. Here, his vision begins to take shape: clouds of white noise part to reveal silence, and the unsettling feedback squeals begin to form harmonies. But KMRU never dips into what might be described as ambience; his most full-on deployment to date, he uses the dynamic intensity of extreme noise to help characterize his theme, shocking us into a realization that we're surrounded by constant electronic chatter.
And after reaching an ear-numbing, bass-heavy crescendo, he pulls back a little on 'Natur 3', mixing subtle environmental sounds into the insectoid glitches and electrically-charged fizzes. Using flute-like synthesized dips and wails, KMRU creates a bizarre, sci-fi tinted atmosphere, using his unique perspective to step away from the genre's fantasy orientalisation towards a prophetic inside-out view of a possible global future. It all comes to a head on the epic 20-minute closing track 'Natur 5'; where birdsong has evolved into a cybernetic churr, into melancholy whines that slip and slide alongside powerful, punctuating bass thumps. He strips each sound for parts, pulling out the low end and letting the electriity buzz to the surface once again.
It's powerful material that works as a neat thematic companion piece to Christina Kubisch's relatively sedate electromagnetic symphony 'Stromsänger'.
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