Boomkat Product Review:
The latest from Eleh is surprisingly busy, considering the mysterious synth botherer's usual output. Composed in a storm, it's silky, oscillating material that's part deep listening and part psychedelic, k-hole dissociation - think Eliane Radigue, "Time Machines"-era Coil, "Imperial Distortion"-era Kevin Drumm or even early Tangerine Dream.
Over the years, Eleh's music has developed from hyper-minimalist studies of tonal fluctuations into more confidently composed drone epics. "Snoweight" feels like his most musical edition in a while, a further development of the tonal gliding found on last year's ace "Harmonic Twins". There's an ominous, uneasy quality to the record, that's enhanced by Eleh's attention to minuscule details; if his early material was barely perceptible shifts and variations, all those psychoacoustic flexes are still present here, they're just employed differently.
The album is split into two compositions, and while the first sounds as if it might launch into an Emeralds-style sci-fi arpeggio trip at any moment, Eleh makes sure the payoff is more subtle. Slowly revealing the character of his oscillators, he builds the brassy drones into thick sub bass instead of bleeps, using overtones and resonance to suggest a creeping counter-harmony.
'Snoweight 2' is even more restrained, with Kubrickian clonks punctuating a falling sine tone that eventually gets swallowed by white noise that forces us to consider the weather and the conditions in which Eleh was working. It's a neat trick, and proof that you don't always need high-end field recordings to evoke a time, place and mood. By the time it draws to a close, Eleh unexpectedly deploys a melody that wouldn't sound out of place on Tangerine Dream's first run of atmospheric tomes, or perhaps more fittingly - Ennio Morricone and John Carpenter's ominous score for icy horror milestone "The Thing".