The Fool
De Ambassade
The Fool
Boomkat Product Review:
Amsterdam’s contemporary cold wave pioneer De Ambassade dwells on matters of dark energy and power structures in the cranky, dare-to-differ charge of his debut LP for Optimo
Chasing up a standout cover of folk standard ‘Young Birds’ on his first offering for Optimo in 2022, Pascal Pinkert aka De Ambassade cultivates a subtly psychoactive melange of ‘80s post-industrial and synth wave with traces of exotica, chamber music, folk and no wave jazz skronk on his 2nd album, ‘The Fool’. Revolving around the idea that “Historically, some rulers have used religion to legitimise their power”, the Dutch artist was inspired to examine “what negative impact religion can have from the fact that it’s always dominated by men”. The results eschew notions of industrial muscularity or machismo for murky, damaged, metaphoric rumination on the dark energies released by region, greed and power relations.
While his earlier work was hardly straightforward, there’s a newfound complexity or nuanced exploration of tone that distinguishes ‘The Fool’ from what came before it. A bevy of unusual instrumentation gives the music a more diverse, detuned accent that personalises De Ambassade’s efforts against a field of sound-alikes. ‘Verderfelijke’ betrays a sort of orientalist enigma that perfuses the detuned waviness of ‘Brand in De Straten’ and seeps into the modal drone dirge of ‘De Dwaas’, and his rhythmic impulses allude to styles beyond the usual post-industrial reference points, such as the offbeat crank of ‘De Elitetheorie’, and recall the way Charlie Megira nods to rock ’n roll in ‘Later Met Je Beste Zelf’ or via Suicide on ‘Verwijder Jezelf’, with ‘Hé Romy’ reminding to He Said’s post-Dome/Wire oddities, and ultimately shoring up in a place and time out of joint with the medieval sassy of ‘De Zon Voor Altjid Rood’.
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Boomkat Product Review:
Amsterdam’s contemporary cold wave pioneer De Ambassade dwells on matters of dark energy and power structures in the cranky, dare-to-differ charge of his debut LP for Optimo
Chasing up a standout cover of folk standard ‘Young Birds’ on his first offering for Optimo in 2022, Pascal Pinkert aka De Ambassade cultivates a subtly psychoactive melange of ‘80s post-industrial and synth wave with traces of exotica, chamber music, folk and no wave jazz skronk on his 2nd album, ‘The Fool’. Revolving around the idea that “Historically, some rulers have used religion to legitimise their power”, the Dutch artist was inspired to examine “what negative impact religion can have from the fact that it’s always dominated by men”. The results eschew notions of industrial muscularity or machismo for murky, damaged, metaphoric rumination on the dark energies released by region, greed and power relations.
While his earlier work was hardly straightforward, there’s a newfound complexity or nuanced exploration of tone that distinguishes ‘The Fool’ from what came before it. A bevy of unusual instrumentation gives the music a more diverse, detuned accent that personalises De Ambassade’s efforts against a field of sound-alikes. ‘Verderfelijke’ betrays a sort of orientalist enigma that perfuses the detuned waviness of ‘Brand in De Straten’ and seeps into the modal drone dirge of ‘De Dwaas’, and his rhythmic impulses allude to styles beyond the usual post-industrial reference points, such as the offbeat crank of ‘De Elitetheorie’, and recall the way Charlie Megira nods to rock ’n roll in ‘Later Met Je Beste Zelf’ or via Suicide on ‘Verwijder Jezelf’, with ‘Hé Romy’ reminding to He Said’s post-Dome/Wire oddities, and ultimately shoring up in a place and time out of joint with the medieval sassy of ‘De Zon Voor Altjid Rood’.
Boomkat Product Review:
Amsterdam’s contemporary cold wave pioneer De Ambassade dwells on matters of dark energy and power structures in the cranky, dare-to-differ charge of his debut LP for Optimo
Chasing up a standout cover of folk standard ‘Young Birds’ on his first offering for Optimo in 2022, Pascal Pinkert aka De Ambassade cultivates a subtly psychoactive melange of ‘80s post-industrial and synth wave with traces of exotica, chamber music, folk and no wave jazz skronk on his 2nd album, ‘The Fool’. Revolving around the idea that “Historically, some rulers have used religion to legitimise their power”, the Dutch artist was inspired to examine “what negative impact religion can have from the fact that it’s always dominated by men”. The results eschew notions of industrial muscularity or machismo for murky, damaged, metaphoric rumination on the dark energies released by region, greed and power relations.
While his earlier work was hardly straightforward, there’s a newfound complexity or nuanced exploration of tone that distinguishes ‘The Fool’ from what came before it. A bevy of unusual instrumentation gives the music a more diverse, detuned accent that personalises De Ambassade’s efforts against a field of sound-alikes. ‘Verderfelijke’ betrays a sort of orientalist enigma that perfuses the detuned waviness of ‘Brand in De Straten’ and seeps into the modal drone dirge of ‘De Dwaas’, and his rhythmic impulses allude to styles beyond the usual post-industrial reference points, such as the offbeat crank of ‘De Elitetheorie’, and recall the way Charlie Megira nods to rock ’n roll in ‘Later Met Je Beste Zelf’ or via Suicide on ‘Verwijder Jezelf’, with ‘Hé Romy’ reminding to He Said’s post-Dome/Wire oddities, and ultimately shoring up in a place and time out of joint with the medieval sassy of ‘De Zon Voor Altjid Rood’.
Boomkat Product Review:
Amsterdam’s contemporary cold wave pioneer De Ambassade dwells on matters of dark energy and power structures in the cranky, dare-to-differ charge of his debut LP for Optimo
Chasing up a standout cover of folk standard ‘Young Birds’ on his first offering for Optimo in 2022, Pascal Pinkert aka De Ambassade cultivates a subtly psychoactive melange of ‘80s post-industrial and synth wave with traces of exotica, chamber music, folk and no wave jazz skronk on his 2nd album, ‘The Fool’. Revolving around the idea that “Historically, some rulers have used religion to legitimise their power”, the Dutch artist was inspired to examine “what negative impact religion can have from the fact that it’s always dominated by men”. The results eschew notions of industrial muscularity or machismo for murky, damaged, metaphoric rumination on the dark energies released by region, greed and power relations.
While his earlier work was hardly straightforward, there’s a newfound complexity or nuanced exploration of tone that distinguishes ‘The Fool’ from what came before it. A bevy of unusual instrumentation gives the music a more diverse, detuned accent that personalises De Ambassade’s efforts against a field of sound-alikes. ‘Verderfelijke’ betrays a sort of orientalist enigma that perfuses the detuned waviness of ‘Brand in De Straten’ and seeps into the modal drone dirge of ‘De Dwaas’, and his rhythmic impulses allude to styles beyond the usual post-industrial reference points, such as the offbeat crank of ‘De Elitetheorie’, and recall the way Charlie Megira nods to rock ’n roll in ‘Later Met Je Beste Zelf’ or via Suicide on ‘Verwijder Jezelf’, with ‘Hé Romy’ reminding to He Said’s post-Dome/Wire oddities, and ultimately shoring up in a place and time out of joint with the medieval sassy of ‘De Zon Voor Altjid Rood’.
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Boomkat Product Review:
Amsterdam’s contemporary cold wave pioneer De Ambassade dwells on matters of dark energy and power structures in the cranky, dare-to-differ charge of his debut LP for Optimo
Chasing up a standout cover of folk standard ‘Young Birds’ on his first offering for Optimo in 2022, Pascal Pinkert aka De Ambassade cultivates a subtly psychoactive melange of ‘80s post-industrial and synth wave with traces of exotica, chamber music, folk and no wave jazz skronk on his 2nd album, ‘The Fool’. Revolving around the idea that “Historically, some rulers have used religion to legitimise their power”, the Dutch artist was inspired to examine “what negative impact religion can have from the fact that it’s always dominated by men”. The results eschew notions of industrial muscularity or machismo for murky, damaged, metaphoric rumination on the dark energies released by region, greed and power relations.
While his earlier work was hardly straightforward, there’s a newfound complexity or nuanced exploration of tone that distinguishes ‘The Fool’ from what came before it. A bevy of unusual instrumentation gives the music a more diverse, detuned accent that personalises De Ambassade’s efforts against a field of sound-alikes. ‘Verderfelijke’ betrays a sort of orientalist enigma that perfuses the detuned waviness of ‘Brand in De Straten’ and seeps into the modal drone dirge of ‘De Dwaas’, and his rhythmic impulses allude to styles beyond the usual post-industrial reference points, such as the offbeat crank of ‘De Elitetheorie’, and recall the way Charlie Megira nods to rock ’n roll in ‘Later Met Je Beste Zelf’ or via Suicide on ‘Verwijder Jezelf’, with ‘Hé Romy’ reminding to He Said’s post-Dome/Wire oddities, and ultimately shoring up in a place and time out of joint with the medieval sassy of ‘De Zon Voor Altjid Rood’.
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