Kreise by Selm


Selm | Kreise
Opal Tapes (2xCS/DL)

The Brothers Giets as Selm unveil their latest outpouring of jilted electronics via Opal Tapes upon the morrow. Kreise is a double tape set that opens with the pulse of Blood running through its compass. It’s bent in all the right ways – with a honed minimalism and bleak structure here, like a motor that is making umpteen attempts to turn itself on. The coursing continues in the apprehensive industrialism of Sand, with glorious pause and echo. The cadence shifts ever-so-slightly, the hollow deepens.

If you enjoy sounds caught in the crosshairs of broken electronics, noise and happenstance techno – this will be for you. But you may ask, what does that combination consist of? And the answer is dubious, mainly because this secret recipe is streamlined as to not reveal too much. But the duo reveals their ear towards tropical and/or African rhythms on the spectacularly percussive Esche. It’s most certainly the beat of a different drummer, and is as mysterious as it is funky. In between tracks like Selfsub and Zu seem like passages between full-fledged pieces rather than concepts, aiding and abetting as they move forward.

Something hypothetical this way comes. On Erle there’s a scintillating percussion courting an otherwise corrupted feedback tone, all about to jam but never taking the stage. It’s a lead-in with an open canvas unstructured surface, a poker faced stare followed by the minimal and arenaceous gyrations of Weissdorn. Then comes Efeu which breathes in and out, timed to a sweeping (yes, sweeping), calculated beat. Layers of bass and other sound effects pierce through the surface of pulsing austerity.

Ahorn revs with a fiery static, until we land on the closer, Kirsche. It’s as though they’ve taken the whole rest of the record and reduced it into a fine pulp here, then extracted it into an ominous work of microsound noise – granular and sublime. It hints at an unfamiliar dark goth ambient from a curious distance, yet still manages to showcase the glory of seedy shadows by usurping only the base resonances. In the end it fades into an unfixed obscurity, but begs a second spin.

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