Set
Instrument builder and composer Jörg Hiller reprises his Konrad Sprenger project with a rare solo plate, blurring boundaries between analog and digital instrumentation by fleshing out his skeletal avant-pop sides with oddball sonic choices bolstered by performance spar and label shaman Oren Ambarchi. Percussive, mind-bending gear - tipped for fans of Anthony Manning, YPY, Tortoise.
Oren Ambarchi's Black Truffle kick off 2025 in style, delivering the latest offering from Berlin-based arch minimalist Jörg Hiller, who's best known for his collaborations with the likes of Arnold Dryblatt and Ellen Fullman. His computer-controlled multi-channel electric guitar was pushed to its limits on the PAN-released 'Stack Music' in 2017, and on 'Set', he applies his innovative technique to two lengthy, labyrinthine sprawls that teeter between electro-acoustic experimentation and silky motor glydes, polished with a plastic sheen.
Performed by the Ensemble Risonanze Moderene, the two extended pieces defy established avant logic, muddling jazzy guitar with plasticky midi percussion and hallucinogenic flutters of incongruous instrumentation like shakuhachi and steel drums. It's not clear what's sampled and what's performed in real time, and Hiller seems to revel in toying with our perceptions, coaxing acoustic instruments to reproduce polyrhythmic phrases and allowing microscopic punctuations to resonate through breathable air.
If you've heard goat (jp) or Koshiro Hino's flawless solo work as YPY, you'll already know how permeable the membrane is between live performance and digital sequencing. Hiller takes it a step further, puncturing cultural aesthetics with a sonic sleight of hand. Elegiac organ drones keep time on the opening side, as slow, moving blasts of harmony are cut by Hiller's pointillistic flurries, from electronic and acoustic drums, to guitars and sampled instruments. Steel drum hits snap between complex ECM-style licks, and conspicuously synthetic strings keep us questioning our suspension of disbelief. Crucially, Hiller's constant hat-tips to classic pop songwriting via chord progressions and aesthetic signals edge the album away from the po-faced realm of experimental minimalism.
On the flip, Ambarchi himself makes an appearance, playing guitar harmonics that vanish into Hiller's own patterns. Both pieces are relatively similar, but Hiller takes the opportunity to create a perpetual sense of drift, rather than sketching out a narrative arc. Change happens in miniature, copped in the details when you take a moment to zoom in.
‘Set' asks us to question the realities we accept about arrangement, instrumentation, sequencing and sampling, adding mystery and humour to music that, on the surface, may as well be easy listening.
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Instrument builder and composer Jörg Hiller reprises his Konrad Sprenger project with a rare solo plate, blurring boundaries between analog and digital instrumentation by fleshing out his skeletal avant-pop sides with oddball sonic choices bolstered by performance spar and label shaman Oren Ambarchi. Percussive, mind-bending gear - tipped for fans of Anthony Manning, YPY, Tortoise.
Oren Ambarchi's Black Truffle kick off 2025 in style, delivering the latest offering from Berlin-based arch minimalist Jörg Hiller, who's best known for his collaborations with the likes of Arnold Dryblatt and Ellen Fullman. His computer-controlled multi-channel electric guitar was pushed to its limits on the PAN-released 'Stack Music' in 2017, and on 'Set', he applies his innovative technique to two lengthy, labyrinthine sprawls that teeter between electro-acoustic experimentation and silky motor glydes, polished with a plastic sheen.
Performed by the Ensemble Risonanze Moderene, the two extended pieces defy established avant logic, muddling jazzy guitar with plasticky midi percussion and hallucinogenic flutters of incongruous instrumentation like shakuhachi and steel drums. It's not clear what's sampled and what's performed in real time, and Hiller seems to revel in toying with our perceptions, coaxing acoustic instruments to reproduce polyrhythmic phrases and allowing microscopic punctuations to resonate through breathable air.
If you've heard goat (jp) or Koshiro Hino's flawless solo work as YPY, you'll already know how permeable the membrane is between live performance and digital sequencing. Hiller takes it a step further, puncturing cultural aesthetics with a sonic sleight of hand. Elegiac organ drones keep time on the opening side, as slow, moving blasts of harmony are cut by Hiller's pointillistic flurries, from electronic and acoustic drums, to guitars and sampled instruments. Steel drum hits snap between complex ECM-style licks, and conspicuously synthetic strings keep us questioning our suspension of disbelief. Crucially, Hiller's constant hat-tips to classic pop songwriting via chord progressions and aesthetic signals edge the album away from the po-faced realm of experimental minimalism.
On the flip, Ambarchi himself makes an appearance, playing guitar harmonics that vanish into Hiller's own patterns. Both pieces are relatively similar, but Hiller takes the opportunity to create a perpetual sense of drift, rather than sketching out a narrative arc. Change happens in miniature, copped in the details when you take a moment to zoom in.
‘Set' asks us to question the realities we accept about arrangement, instrumentation, sequencing and sampling, adding mystery and humour to music that, on the surface, may as well be easy listening.
Instrument builder and composer Jörg Hiller reprises his Konrad Sprenger project with a rare solo plate, blurring boundaries between analog and digital instrumentation by fleshing out his skeletal avant-pop sides with oddball sonic choices bolstered by performance spar and label shaman Oren Ambarchi. Percussive, mind-bending gear - tipped for fans of Anthony Manning, YPY, Tortoise.
Oren Ambarchi's Black Truffle kick off 2025 in style, delivering the latest offering from Berlin-based arch minimalist Jörg Hiller, who's best known for his collaborations with the likes of Arnold Dryblatt and Ellen Fullman. His computer-controlled multi-channel electric guitar was pushed to its limits on the PAN-released 'Stack Music' in 2017, and on 'Set', he applies his innovative technique to two lengthy, labyrinthine sprawls that teeter between electro-acoustic experimentation and silky motor glydes, polished with a plastic sheen.
Performed by the Ensemble Risonanze Moderene, the two extended pieces defy established avant logic, muddling jazzy guitar with plasticky midi percussion and hallucinogenic flutters of incongruous instrumentation like shakuhachi and steel drums. It's not clear what's sampled and what's performed in real time, and Hiller seems to revel in toying with our perceptions, coaxing acoustic instruments to reproduce polyrhythmic phrases and allowing microscopic punctuations to resonate through breathable air.
If you've heard goat (jp) or Koshiro Hino's flawless solo work as YPY, you'll already know how permeable the membrane is between live performance and digital sequencing. Hiller takes it a step further, puncturing cultural aesthetics with a sonic sleight of hand. Elegiac organ drones keep time on the opening side, as slow, moving blasts of harmony are cut by Hiller's pointillistic flurries, from electronic and acoustic drums, to guitars and sampled instruments. Steel drum hits snap between complex ECM-style licks, and conspicuously synthetic strings keep us questioning our suspension of disbelief. Crucially, Hiller's constant hat-tips to classic pop songwriting via chord progressions and aesthetic signals edge the album away from the po-faced realm of experimental minimalism.
On the flip, Ambarchi himself makes an appearance, playing guitar harmonics that vanish into Hiller's own patterns. Both pieces are relatively similar, but Hiller takes the opportunity to create a perpetual sense of drift, rather than sketching out a narrative arc. Change happens in miniature, copped in the details when you take a moment to zoom in.
‘Set' asks us to question the realities we accept about arrangement, instrumentation, sequencing and sampling, adding mystery and humour to music that, on the surface, may as well be easy listening.
Instrument builder and composer Jörg Hiller reprises his Konrad Sprenger project with a rare solo plate, blurring boundaries between analog and digital instrumentation by fleshing out his skeletal avant-pop sides with oddball sonic choices bolstered by performance spar and label shaman Oren Ambarchi. Percussive, mind-bending gear - tipped for fans of Anthony Manning, YPY, Tortoise.
Oren Ambarchi's Black Truffle kick off 2025 in style, delivering the latest offering from Berlin-based arch minimalist Jörg Hiller, who's best known for his collaborations with the likes of Arnold Dryblatt and Ellen Fullman. His computer-controlled multi-channel electric guitar was pushed to its limits on the PAN-released 'Stack Music' in 2017, and on 'Set', he applies his innovative technique to two lengthy, labyrinthine sprawls that teeter between electro-acoustic experimentation and silky motor glydes, polished with a plastic sheen.
Performed by the Ensemble Risonanze Moderene, the two extended pieces defy established avant logic, muddling jazzy guitar with plasticky midi percussion and hallucinogenic flutters of incongruous instrumentation like shakuhachi and steel drums. It's not clear what's sampled and what's performed in real time, and Hiller seems to revel in toying with our perceptions, coaxing acoustic instruments to reproduce polyrhythmic phrases and allowing microscopic punctuations to resonate through breathable air.
If you've heard goat (jp) or Koshiro Hino's flawless solo work as YPY, you'll already know how permeable the membrane is between live performance and digital sequencing. Hiller takes it a step further, puncturing cultural aesthetics with a sonic sleight of hand. Elegiac organ drones keep time on the opening side, as slow, moving blasts of harmony are cut by Hiller's pointillistic flurries, from electronic and acoustic drums, to guitars and sampled instruments. Steel drum hits snap between complex ECM-style licks, and conspicuously synthetic strings keep us questioning our suspension of disbelief. Crucially, Hiller's constant hat-tips to classic pop songwriting via chord progressions and aesthetic signals edge the album away from the po-faced realm of experimental minimalism.
On the flip, Ambarchi himself makes an appearance, playing guitar harmonics that vanish into Hiller's own patterns. Both pieces are relatively similar, but Hiller takes the opportunity to create a perpetual sense of drift, rather than sketching out a narrative arc. Change happens in miniature, copped in the details when you take a moment to zoom in.
‘Set' asks us to question the realities we accept about arrangement, instrumentation, sequencing and sampling, adding mystery and humour to music that, on the surface, may as well be easy listening.
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Instrument builder and composer Jörg Hiller reprises his Konrad Sprenger project with a rare solo plate, blurring boundaries between analog and digital instrumentation by fleshing out his skeletal avant-pop sides with oddball sonic choices bolstered by performance spar and label shaman Oren Ambarchi. Percussive, mind-bending gear - tipped for fans of Anthony Manning, YPY, Tortoise.
Oren Ambarchi's Black Truffle kick off 2025 in style, delivering the latest offering from Berlin-based arch minimalist Jörg Hiller, who's best known for his collaborations with the likes of Arnold Dryblatt and Ellen Fullman. His computer-controlled multi-channel electric guitar was pushed to its limits on the PAN-released 'Stack Music' in 2017, and on 'Set', he applies his innovative technique to two lengthy, labyrinthine sprawls that teeter between electro-acoustic experimentation and silky motor glydes, polished with a plastic sheen.
Performed by the Ensemble Risonanze Moderene, the two extended pieces defy established avant logic, muddling jazzy guitar with plasticky midi percussion and hallucinogenic flutters of incongruous instrumentation like shakuhachi and steel drums. It's not clear what's sampled and what's performed in real time, and Hiller seems to revel in toying with our perceptions, coaxing acoustic instruments to reproduce polyrhythmic phrases and allowing microscopic punctuations to resonate through breathable air.
If you've heard goat (jp) or Koshiro Hino's flawless solo work as YPY, you'll already know how permeable the membrane is between live performance and digital sequencing. Hiller takes it a step further, puncturing cultural aesthetics with a sonic sleight of hand. Elegiac organ drones keep time on the opening side, as slow, moving blasts of harmony are cut by Hiller's pointillistic flurries, from electronic and acoustic drums, to guitars and sampled instruments. Steel drum hits snap between complex ECM-style licks, and conspicuously synthetic strings keep us questioning our suspension of disbelief. Crucially, Hiller's constant hat-tips to classic pop songwriting via chord progressions and aesthetic signals edge the album away from the po-faced realm of experimental minimalism.
On the flip, Ambarchi himself makes an appearance, playing guitar harmonics that vanish into Hiller's own patterns. Both pieces are relatively similar, but Hiller takes the opportunity to create a perpetual sense of drift, rather than sketching out a narrative arc. Change happens in miniature, copped in the details when you take a moment to zoom in.
‘Set' asks us to question the realities we accept about arrangement, instrumentation, sequencing and sampling, adding mystery and humour to music that, on the surface, may as well be easy listening.