Razen
Rain Without Rain
Boomkat Product Review:
Belgian mystics Razen follow releases for Hands in the Dark, (K-RAA-K)³, Marionette and Important with an album of ritualistic electro-acoustic early music that label head Stefan Schneider, who recorded the session, describes as "Suicide meets Hildegard von Bingen".
This is unique stuff. The Brussels-based collective, led by Brecht Ameel and Kim Delcour, headed to Düsseldorf to record 'Rain Without Rain', spending a night in an abandoned pedestrian tunnel in the center of the city. Fascinated by acoustics, Ameel and Delcour regard the reverberation of their recording space as highly as the instruments themselves, and this one hums with intrigue. Their instrumentation is relatively bare - just a recorder, an oscillator and a guitar amp - but the duo use the space to their advantage, playing into the tunnel to harness the uncanny echoes. So the early electronic-inspired oscillations fired through an amp that make a skewed rhythm on 'Lazy Lazy Eye' become shivering, cathedral strength thuds that cut through the woodwind squall, that spirals into a magickal lament.
'Owl Monkey' is even better, a fidgeting Delian rhythm that bends alongside the hollow, breathy drones, whirring into the cavernous reverb to sound like a broken engine, and on the title track, growling oscillator hums are juxtaposed with menacing shaker shuffles and reedy, organ-like sustained notes. There's little like this out there; Razen are clearly well informed, pulling from vintage folk music but not exactly attempting to replicate it. On 'Lazy Lung' they sound as if they're deflating a set of bagpipes while a broken drum machine cycles listlessly in the background, and it's just the ticket.
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Boomkat Product Review:
Belgian mystics Razen follow releases for Hands in the Dark, (K-RAA-K)³, Marionette and Important with an album of ritualistic electro-acoustic early music that label head Stefan Schneider, who recorded the session, describes as "Suicide meets Hildegard von Bingen".
This is unique stuff. The Brussels-based collective, led by Brecht Ameel and Kim Delcour, headed to Düsseldorf to record 'Rain Without Rain', spending a night in an abandoned pedestrian tunnel in the center of the city. Fascinated by acoustics, Ameel and Delcour regard the reverberation of their recording space as highly as the instruments themselves, and this one hums with intrigue. Their instrumentation is relatively bare - just a recorder, an oscillator and a guitar amp - but the duo use the space to their advantage, playing into the tunnel to harness the uncanny echoes. So the early electronic-inspired oscillations fired through an amp that make a skewed rhythm on 'Lazy Lazy Eye' become shivering, cathedral strength thuds that cut through the woodwind squall, that spirals into a magickal lament.
'Owl Monkey' is even better, a fidgeting Delian rhythm that bends alongside the hollow, breathy drones, whirring into the cavernous reverb to sound like a broken engine, and on the title track, growling oscillator hums are juxtaposed with menacing shaker shuffles and reedy, organ-like sustained notes. There's little like this out there; Razen are clearly well informed, pulling from vintage folk music but not exactly attempting to replicate it. On 'Lazy Lung' they sound as if they're deflating a set of bagpipes while a broken drum machine cycles listlessly in the background, and it's just the ticket.
Boomkat Product Review:
Belgian mystics Razen follow releases for Hands in the Dark, (K-RAA-K)³, Marionette and Important with an album of ritualistic electro-acoustic early music that label head Stefan Schneider, who recorded the session, describes as "Suicide meets Hildegard von Bingen".
This is unique stuff. The Brussels-based collective, led by Brecht Ameel and Kim Delcour, headed to Düsseldorf to record 'Rain Without Rain', spending a night in an abandoned pedestrian tunnel in the center of the city. Fascinated by acoustics, Ameel and Delcour regard the reverberation of their recording space as highly as the instruments themselves, and this one hums with intrigue. Their instrumentation is relatively bare - just a recorder, an oscillator and a guitar amp - but the duo use the space to their advantage, playing into the tunnel to harness the uncanny echoes. So the early electronic-inspired oscillations fired through an amp that make a skewed rhythm on 'Lazy Lazy Eye' become shivering, cathedral strength thuds that cut through the woodwind squall, that spirals into a magickal lament.
'Owl Monkey' is even better, a fidgeting Delian rhythm that bends alongside the hollow, breathy drones, whirring into the cavernous reverb to sound like a broken engine, and on the title track, growling oscillator hums are juxtaposed with menacing shaker shuffles and reedy, organ-like sustained notes. There's little like this out there; Razen are clearly well informed, pulling from vintage folk music but not exactly attempting to replicate it. On 'Lazy Lung' they sound as if they're deflating a set of bagpipes while a broken drum machine cycles listlessly in the background, and it's just the ticket.
Boomkat Product Review:
Belgian mystics Razen follow releases for Hands in the Dark, (K-RAA-K)³, Marionette and Important with an album of ritualistic electro-acoustic early music that label head Stefan Schneider, who recorded the session, describes as "Suicide meets Hildegard von Bingen".
This is unique stuff. The Brussels-based collective, led by Brecht Ameel and Kim Delcour, headed to Düsseldorf to record 'Rain Without Rain', spending a night in an abandoned pedestrian tunnel in the center of the city. Fascinated by acoustics, Ameel and Delcour regard the reverberation of their recording space as highly as the instruments themselves, and this one hums with intrigue. Their instrumentation is relatively bare - just a recorder, an oscillator and a guitar amp - but the duo use the space to their advantage, playing into the tunnel to harness the uncanny echoes. So the early electronic-inspired oscillations fired through an amp that make a skewed rhythm on 'Lazy Lazy Eye' become shivering, cathedral strength thuds that cut through the woodwind squall, that spirals into a magickal lament.
'Owl Monkey' is even better, a fidgeting Delian rhythm that bends alongside the hollow, breathy drones, whirring into the cavernous reverb to sound like a broken engine, and on the title track, growling oscillator hums are juxtaposed with menacing shaker shuffles and reedy, organ-like sustained notes. There's little like this out there; Razen are clearly well informed, pulling from vintage folk music but not exactly attempting to replicate it. On 'Lazy Lung' they sound as if they're deflating a set of bagpipes while a broken drum machine cycles listlessly in the background, and it's just the ticket.
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Boomkat Product Review:
Belgian mystics Razen follow releases for Hands in the Dark, (K-RAA-K)³, Marionette and Important with an album of ritualistic electro-acoustic early music that label head Stefan Schneider, who recorded the session, describes as "Suicide meets Hildegard von Bingen".
This is unique stuff. The Brussels-based collective, led by Brecht Ameel and Kim Delcour, headed to Düsseldorf to record 'Rain Without Rain', spending a night in an abandoned pedestrian tunnel in the center of the city. Fascinated by acoustics, Ameel and Delcour regard the reverberation of their recording space as highly as the instruments themselves, and this one hums with intrigue. Their instrumentation is relatively bare - just a recorder, an oscillator and a guitar amp - but the duo use the space to their advantage, playing into the tunnel to harness the uncanny echoes. So the early electronic-inspired oscillations fired through an amp that make a skewed rhythm on 'Lazy Lazy Eye' become shivering, cathedral strength thuds that cut through the woodwind squall, that spirals into a magickal lament.
'Owl Monkey' is even better, a fidgeting Delian rhythm that bends alongside the hollow, breathy drones, whirring into the cavernous reverb to sound like a broken engine, and on the title track, growling oscillator hums are juxtaposed with menacing shaker shuffles and reedy, organ-like sustained notes. There's little like this out there; Razen are clearly well informed, pulling from vintage folk music but not exactly attempting to replicate it. On 'Lazy Lung' they sound as if they're deflating a set of bagpipes while a broken drum machine cycles listlessly in the background, and it's just the ticket.
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