Dettinger's second and final album was also his best, a euphoric stew of bass-heavy rhythms and shoegaze-inspired drones that sounds better than ever - providing a sort of missing link between SND, Slowdive, To Rococo Rot and Newworldaquarium.
Olaf Dettinger had tightened his formula considerably when he wrote 'Oasis'. This album dropped its predecessor's dusty, Mo' Wax-inspired beat slices and omnipresent vinyl crackle, replacing them with glassy glitches and, most unexpectedly, the kind of hazy textures you'd expect to find on a Slowdive or Spacemen 3 album. The producer's dubwise attention to low end is still front and center, but on 'Oasis 3' for example, the melancholy, Cocteaus-ish guitars and backmasked vocals provide an apt foil for his undulating kicks and fizzy percussive tics. It sounds like it could have been released at any time in the last quarter-century, offering parallels with everything from Seefeel to Panda Bear, who incidentally cites Dettinger as a core influence.
Elsewhere, Dettinger is more elusive, sticking to repetition and an uneasy, weightless groove on tracks like 'Oasis 1' and the emaciated 'Oasis 5'. But there are moments of sunshine in there too: 'Oasis 2' is a more cosmic take on SND's looped, locked minimalism, and 'Oasis 4' sounds as if it shares musical DNA with Berlin's To Rococo Rot. Dettinger rarely lets decoration get in the way of his pulses, he builds loops and lets them play out until they're exhausted, prompting deeper listening. A careful appraisal reveals the tiniest fluctuations - such as white noise modifications or reverb tail edits - that sound far more discernible on this brand new remaster. And the album's opulent closer 'Oasis 7', a Jason Pierce-style tremolo wail that's cycled into ecstasy, has never sounded quite so powerful.
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Dettinger's second and final album was also his best, a euphoric stew of bass-heavy rhythms and shoegaze-inspired drones that sounds better than ever - providing a sort of missing link between SND, Slowdive, To Rococo Rot and Newworldaquarium.
Olaf Dettinger had tightened his formula considerably when he wrote 'Oasis'. This album dropped its predecessor's dusty, Mo' Wax-inspired beat slices and omnipresent vinyl crackle, replacing them with glassy glitches and, most unexpectedly, the kind of hazy textures you'd expect to find on a Slowdive or Spacemen 3 album. The producer's dubwise attention to low end is still front and center, but on 'Oasis 3' for example, the melancholy, Cocteaus-ish guitars and backmasked vocals provide an apt foil for his undulating kicks and fizzy percussive tics. It sounds like it could have been released at any time in the last quarter-century, offering parallels with everything from Seefeel to Panda Bear, who incidentally cites Dettinger as a core influence.
Elsewhere, Dettinger is more elusive, sticking to repetition and an uneasy, weightless groove on tracks like 'Oasis 1' and the emaciated 'Oasis 5'. But there are moments of sunshine in there too: 'Oasis 2' is a more cosmic take on SND's looped, locked minimalism, and 'Oasis 4' sounds as if it shares musical DNA with Berlin's To Rococo Rot. Dettinger rarely lets decoration get in the way of his pulses, he builds loops and lets them play out until they're exhausted, prompting deeper listening. A careful appraisal reveals the tiniest fluctuations - such as white noise modifications or reverb tail edits - that sound far more discernible on this brand new remaster. And the album's opulent closer 'Oasis 7', a Jason Pierce-style tremolo wail that's cycled into ecstasy, has never sounded quite so powerful.
Dettinger's second and final album was also his best, a euphoric stew of bass-heavy rhythms and shoegaze-inspired drones that sounds better than ever - providing a sort of missing link between SND, Slowdive, To Rococo Rot and Newworldaquarium.
Olaf Dettinger had tightened his formula considerably when he wrote 'Oasis'. This album dropped its predecessor's dusty, Mo' Wax-inspired beat slices and omnipresent vinyl crackle, replacing them with glassy glitches and, most unexpectedly, the kind of hazy textures you'd expect to find on a Slowdive or Spacemen 3 album. The producer's dubwise attention to low end is still front and center, but on 'Oasis 3' for example, the melancholy, Cocteaus-ish guitars and backmasked vocals provide an apt foil for his undulating kicks and fizzy percussive tics. It sounds like it could have been released at any time in the last quarter-century, offering parallels with everything from Seefeel to Panda Bear, who incidentally cites Dettinger as a core influence.
Elsewhere, Dettinger is more elusive, sticking to repetition and an uneasy, weightless groove on tracks like 'Oasis 1' and the emaciated 'Oasis 5'. But there are moments of sunshine in there too: 'Oasis 2' is a more cosmic take on SND's looped, locked minimalism, and 'Oasis 4' sounds as if it shares musical DNA with Berlin's To Rococo Rot. Dettinger rarely lets decoration get in the way of his pulses, he builds loops and lets them play out until they're exhausted, prompting deeper listening. A careful appraisal reveals the tiniest fluctuations - such as white noise modifications or reverb tail edits - that sound far more discernible on this brand new remaster. And the album's opulent closer 'Oasis 7', a Jason Pierce-style tremolo wail that's cycled into ecstasy, has never sounded quite so powerful.
Dettinger's second and final album was also his best, a euphoric stew of bass-heavy rhythms and shoegaze-inspired drones that sounds better than ever - providing a sort of missing link between SND, Slowdive, To Rococo Rot and Newworldaquarium.
Olaf Dettinger had tightened his formula considerably when he wrote 'Oasis'. This album dropped its predecessor's dusty, Mo' Wax-inspired beat slices and omnipresent vinyl crackle, replacing them with glassy glitches and, most unexpectedly, the kind of hazy textures you'd expect to find on a Slowdive or Spacemen 3 album. The producer's dubwise attention to low end is still front and center, but on 'Oasis 3' for example, the melancholy, Cocteaus-ish guitars and backmasked vocals provide an apt foil for his undulating kicks and fizzy percussive tics. It sounds like it could have been released at any time in the last quarter-century, offering parallels with everything from Seefeel to Panda Bear, who incidentally cites Dettinger as a core influence.
Elsewhere, Dettinger is more elusive, sticking to repetition and an uneasy, weightless groove on tracks like 'Oasis 1' and the emaciated 'Oasis 5'. But there are moments of sunshine in there too: 'Oasis 2' is a more cosmic take on SND's looped, locked minimalism, and 'Oasis 4' sounds as if it shares musical DNA with Berlin's To Rococo Rot. Dettinger rarely lets decoration get in the way of his pulses, he builds loops and lets them play out until they're exhausted, prompting deeper listening. A careful appraisal reveals the tiniest fluctuations - such as white noise modifications or reverb tail edits - that sound far more discernible on this brand new remaster. And the album's opulent closer 'Oasis 7', a Jason Pierce-style tremolo wail that's cycled into ecstasy, has never sounded quite so powerful.
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Dettinger's second and final album was also his best, a euphoric stew of bass-heavy rhythms and shoegaze-inspired drones that sounds better than ever - providing a sort of missing link between SND, Slowdive, To Rococo Rot and Newworldaquarium.
Olaf Dettinger had tightened his formula considerably when he wrote 'Oasis'. This album dropped its predecessor's dusty, Mo' Wax-inspired beat slices and omnipresent vinyl crackle, replacing them with glassy glitches and, most unexpectedly, the kind of hazy textures you'd expect to find on a Slowdive or Spacemen 3 album. The producer's dubwise attention to low end is still front and center, but on 'Oasis 3' for example, the melancholy, Cocteaus-ish guitars and backmasked vocals provide an apt foil for his undulating kicks and fizzy percussive tics. It sounds like it could have been released at any time in the last quarter-century, offering parallels with everything from Seefeel to Panda Bear, who incidentally cites Dettinger as a core influence.
Elsewhere, Dettinger is more elusive, sticking to repetition and an uneasy, weightless groove on tracks like 'Oasis 1' and the emaciated 'Oasis 5'. But there are moments of sunshine in there too: 'Oasis 2' is a more cosmic take on SND's looped, locked minimalism, and 'Oasis 4' sounds as if it shares musical DNA with Berlin's To Rococo Rot. Dettinger rarely lets decoration get in the way of his pulses, he builds loops and lets them play out until they're exhausted, prompting deeper listening. A careful appraisal reveals the tiniest fluctuations - such as white noise modifications or reverb tail edits - that sound far more discernible on this brand new remaster. And the album's opulent closer 'Oasis 7', a Jason Pierce-style tremolo wail that's cycled into ecstasy, has never sounded quite so powerful.