Kassel Jaeger's 3rd release for Editions Mego - his best yet - is an inquisitive suite of expansive soundscapes questioning creative processes of material and structural decay. On the extended, 25 minute piece of 'Toxic Cosmopolitanism', the current GRM member renders the processed timbres of instruments such as the balafon, tremolo, gnbri, gee, tibetan gong, and pan flutes, in an interzone of icy drones removed from their cultural contexts. The result of his experiment is a desolate, immersive space as abstract and mysterious as The Conet Project recordings and feeliung something like a darker adjunct to the meshed collages of Laurent Jeanneau Kink Gong project or the most far flung Helge Sten and BJ Nilsen recordings. A further four more concise versions extract and further explore material from the original, extended piece, cracking open and peering inside their their engimatic internal structures with results ranging from bleak panoramas to wistful ambient sensations and submerged drones recalling Jana Winderen's Arctic hydrophonic recordings.
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Kassel Jaeger's 3rd release for Editions Mego - his best yet - is an inquisitive suite of expansive soundscapes questioning creative processes of material and structural decay. On the extended, 25 minute piece of 'Toxic Cosmopolitanism', the current GRM member renders the processed timbres of instruments such as the balafon, tremolo, gnbri, gee, tibetan gong, and pan flutes, in an interzone of icy drones removed from their cultural contexts. The result of his experiment is a desolate, immersive space as abstract and mysterious as The Conet Project recordings and feeliung something like a darker adjunct to the meshed collages of Laurent Jeanneau Kink Gong project or the most far flung Helge Sten and BJ Nilsen recordings. A further four more concise versions extract and further explore material from the original, extended piece, cracking open and peering inside their their engimatic internal structures with results ranging from bleak panoramas to wistful ambient sensations and submerged drones recalling Jana Winderen's Arctic hydrophonic recordings.
Kassel Jaeger's 3rd release for Editions Mego - his best yet - is an inquisitive suite of expansive soundscapes questioning creative processes of material and structural decay. On the extended, 25 minute piece of 'Toxic Cosmopolitanism', the current GRM member renders the processed timbres of instruments such as the balafon, tremolo, gnbri, gee, tibetan gong, and pan flutes, in an interzone of icy drones removed from their cultural contexts. The result of his experiment is a desolate, immersive space as abstract and mysterious as The Conet Project recordings and feeliung something like a darker adjunct to the meshed collages of Laurent Jeanneau Kink Gong project or the most far flung Helge Sten and BJ Nilsen recordings. A further four more concise versions extract and further explore material from the original, extended piece, cracking open and peering inside their their engimatic internal structures with results ranging from bleak panoramas to wistful ambient sensations and submerged drones recalling Jana Winderen's Arctic hydrophonic recordings.
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Kassel Jaeger's 3rd release for Editions Mego - his best yet - is an inquisitive suite of expansive soundscapes questioning creative processes of material and structural decay. On the extended, 25 minute piece of 'Toxic Cosmopolitanism', the current GRM member renders the processed timbres of instruments such as the balafon, tremolo, gnbri, gee, tibetan gong, and pan flutes, in an interzone of icy drones removed from their cultural contexts. The result of his experiment is a desolate, immersive space as abstract and mysterious as The Conet Project recordings and feeliung something like a darker adjunct to the meshed collages of Laurent Jeanneau Kink Gong project or the most far flung Helge Sten and BJ Nilsen recordings. A further four more concise versions extract and further explore material from the original, extended piece, cracking open and peering inside their their engimatic internal structures with results ranging from bleak panoramas to wistful ambient sensations and submerged drones recalling Jana Winderen's Arctic hydrophonic recordings.