Boomkat Product Review:
Whilst most artists cite love, loss and loneliness as key components in their creative process, Andreas Otto (aka Springintgut) has an entirely different explanation for what ignited the genesis behind 'Park and Ride'. "I live in a forest next to rail tracks with 3 commuter trains passing by each day - apart from one or two occasions per year when the tracks are being used to transport nuclear waste to a high-security shelter..." That'll do it then. Having commenced his musical career through the tried-and-tested route of rock bands, Otto left his native Cologne to attend the University of Luneberg - an institute famed for its focus on electronic music and therefore a key component in galvanising his newfound digital direction. Now pushing 27, Otto's latest album under the Springintgut moniker seems to thrive on contradictions - with a sense of genuine spontaneity existing alongside the carefully considered and intricately plotted digital machinations. Having recorded alongside Mouse On Mars, Otto's aural family tree can certainly be traced back to similar foundations; as the rural and urban create a spark that runs throughout the album with moments of sugar-rush euphoria buffeting against each other for caustic effect. Recorded in the aforementioned house with the aforementioned train tracks, 'Park and Ride' is quite tidily summed up by the calm of a forest suddenly being punctuated by a locomotive en route to some sprawling urban conurbation. Opening with the rubbery electronica of 'Day Off', Otto manages to inject some funk into the often austere silicon genre, before 'Colossus' lurches in with ripped modems and expulsive samples trailing in the wind. For those in search of something altogether more subdued, Otto delivers on the beautifully elegant 'Cousteau' - in which a simple acoustic guitar melody is gradually cloaked in a web of waterlogged percussion, electronic stitches and supine atmospherics. Featuring Otto on cello, bass and production and Max Fey on guitar, the twin components of the organic and electronic suffer from now friction and instead come together in perfect union. Elsewhere, 'Precastor' drafts in Kazumi for sultry vocal duty, 'Day Echo' gets F.S. Blumm to provide guitar on the staggering (and short) 'Day Echo', whilst 'Everything In Process' uses field recordings to startling effect. Double yellow!