Zehn Tage Im April
ROBERT LIPPOK
Zehn Tage Im April
Boomkat Product Review:
To Rococo Rot’s Robert Lippok delivers an album of new material recorded over a 10 day period for our Documenting Sound series in Berlin this spring, a sprawling 70 minute/13 track excursion into some of the most wildly affecting and uncontrolled brilliance we’ve heard from him in years.
On ‘Zehn Tage Im April’ the revered producer, composer and visual artist reflects the surreality of 10 days during the first lockdown, when he observed that the city was “empty like back in the 90s”, but nature continued its perennial cycle unabated. We’ve long been fascinated by the melancholic nuance and meditative space of Lippok's music, and his work here duly pays testament to his almost peerless, dreamlike feel for musical dramaturgy, intuitively incorporating talents as a set designer and visual artist to arrange an immersively descriptive but elusive suite that reflects the magic of Berlin as the seasons change, but with an added frisson of intangible oddness.
For quite a controlled musician, Lippok for once didn’t force the creative process here, instead preferring to amass a kind of sketch book of ideas that mirrored his wandering ear and mind. The results were then ripped and shaped into these 13 tracks, spanning over an hour of lucid-dreaming field recording manipulations such as the hyperreal 9 mins of ‘Nordbahnhof Havel Lyra Cycle’, angular prang outs like the benched but lush ‘Kick2test’, and gritty chromatic techno pulsers such as ‘Nacht’, before really sprawling out in two durational works that feel like he’s mapping a deep topographical trip between the city’s U-Bahn stations and patchwork of blossoming parks surrounded by construction sites and a sferic maze of psychic energies.
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Boomkat Product Review:
To Rococo Rot’s Robert Lippok delivers an album of new material recorded over a 10 day period for our Documenting Sound series in Berlin this spring, a sprawling 70 minute/13 track excursion into some of the most wildly affecting and uncontrolled brilliance we’ve heard from him in years.
On ‘Zehn Tage Im April’ the revered producer, composer and visual artist reflects the surreality of 10 days during the first lockdown, when he observed that the city was “empty like back in the 90s”, but nature continued its perennial cycle unabated. We’ve long been fascinated by the melancholic nuance and meditative space of Lippok's music, and his work here duly pays testament to his almost peerless, dreamlike feel for musical dramaturgy, intuitively incorporating talents as a set designer and visual artist to arrange an immersively descriptive but elusive suite that reflects the magic of Berlin as the seasons change, but with an added frisson of intangible oddness.
For quite a controlled musician, Lippok for once didn’t force the creative process here, instead preferring to amass a kind of sketch book of ideas that mirrored his wandering ear and mind. The results were then ripped and shaped into these 13 tracks, spanning over an hour of lucid-dreaming field recording manipulations such as the hyperreal 9 mins of ‘Nordbahnhof Havel Lyra Cycle’, angular prang outs like the benched but lush ‘Kick2test’, and gritty chromatic techno pulsers such as ‘Nacht’, before really sprawling out in two durational works that feel like he’s mapping a deep topographical trip between the city’s U-Bahn stations and patchwork of blossoming parks surrounded by construction sites and a sferic maze of psychic energies.
Boomkat Product Review:
To Rococo Rot’s Robert Lippok delivers an album of new material recorded over a 10 day period for our Documenting Sound series in Berlin this spring, a sprawling 70 minute/13 track excursion into some of the most wildly affecting and uncontrolled brilliance we’ve heard from him in years.
On ‘Zehn Tage Im April’ the revered producer, composer and visual artist reflects the surreality of 10 days during the first lockdown, when he observed that the city was “empty like back in the 90s”, but nature continued its perennial cycle unabated. We’ve long been fascinated by the melancholic nuance and meditative space of Lippok's music, and his work here duly pays testament to his almost peerless, dreamlike feel for musical dramaturgy, intuitively incorporating talents as a set designer and visual artist to arrange an immersively descriptive but elusive suite that reflects the magic of Berlin as the seasons change, but with an added frisson of intangible oddness.
For quite a controlled musician, Lippok for once didn’t force the creative process here, instead preferring to amass a kind of sketch book of ideas that mirrored his wandering ear and mind. The results were then ripped and shaped into these 13 tracks, spanning over an hour of lucid-dreaming field recording manipulations such as the hyperreal 9 mins of ‘Nordbahnhof Havel Lyra Cycle’, angular prang outs like the benched but lush ‘Kick2test’, and gritty chromatic techno pulsers such as ‘Nacht’, before really sprawling out in two durational works that feel like he’s mapping a deep topographical trip between the city’s U-Bahn stations and patchwork of blossoming parks surrounded by construction sites and a sferic maze of psychic energies.
Boomkat Product Review:
To Rococo Rot’s Robert Lippok delivers an album of new material recorded over a 10 day period for our Documenting Sound series in Berlin this spring, a sprawling 70 minute/13 track excursion into some of the most wildly affecting and uncontrolled brilliance we’ve heard from him in years.
On ‘Zehn Tage Im April’ the revered producer, composer and visual artist reflects the surreality of 10 days during the first lockdown, when he observed that the city was “empty like back in the 90s”, but nature continued its perennial cycle unabated. We’ve long been fascinated by the melancholic nuance and meditative space of Lippok's music, and his work here duly pays testament to his almost peerless, dreamlike feel for musical dramaturgy, intuitively incorporating talents as a set designer and visual artist to arrange an immersively descriptive but elusive suite that reflects the magic of Berlin as the seasons change, but with an added frisson of intangible oddness.
For quite a controlled musician, Lippok for once didn’t force the creative process here, instead preferring to amass a kind of sketch book of ideas that mirrored his wandering ear and mind. The results were then ripped and shaped into these 13 tracks, spanning over an hour of lucid-dreaming field recording manipulations such as the hyperreal 9 mins of ‘Nordbahnhof Havel Lyra Cycle’, angular prang outs like the benched but lush ‘Kick2test’, and gritty chromatic techno pulsers such as ‘Nacht’, before really sprawling out in two durational works that feel like he’s mapping a deep topographical trip between the city’s U-Bahn stations and patchwork of blossoming parks surrounded by construction sites and a sferic maze of psychic energies.
Includes an 8-panel insert with images and text by the artist, and an instant download dropped to your account.
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Boomkat Product Review:
To Rococo Rot’s Robert Lippok delivers an album of new material recorded over a 10 day period for our Documenting Sound series in Berlin this spring, a sprawling 70 minute/13 track excursion into some of the most wildly affecting and uncontrolled brilliance we’ve heard from him in years.
On ‘Zehn Tage Im April’ the revered producer, composer and visual artist reflects the surreality of 10 days during the first lockdown, when he observed that the city was “empty like back in the 90s”, but nature continued its perennial cycle unabated. We’ve long been fascinated by the melancholic nuance and meditative space of Lippok's music, and his work here duly pays testament to his almost peerless, dreamlike feel for musical dramaturgy, intuitively incorporating talents as a set designer and visual artist to arrange an immersively descriptive but elusive suite that reflects the magic of Berlin as the seasons change, but with an added frisson of intangible oddness.
For quite a controlled musician, Lippok for once didn’t force the creative process here, instead preferring to amass a kind of sketch book of ideas that mirrored his wandering ear and mind. The results were then ripped and shaped into these 13 tracks, spanning over an hour of lucid-dreaming field recording manipulations such as the hyperreal 9 mins of ‘Nordbahnhof Havel Lyra Cycle’, angular prang outs like the benched but lush ‘Kick2test’, and gritty chromatic techno pulsers such as ‘Nacht’, before really sprawling out in two durational works that feel like he’s mapping a deep topographical trip between the city’s U-Bahn stations and patchwork of blossoming parks surrounded by construction sites and a sferic maze of psychic energies.
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