Review: Auterkeia: “Disco Tapes” / Released November 6, 2020
Jeremy Powell– beats, synth, flute, clarinet, cassette processing, mixing, mastering
1 Dawn
Starting with the clicks of an analog tape mechanism starting, this track soon progresses to a down-tempo beat featuring the classic Boss Dr 202 drum machine sound. Polyphonic layers of arpeggiated sounds add depth and sophistication. A swirl of electronic colors and a resonant bass lead us down a bright digital landscape into the dawn. It’s obvious that this music is made by a musician, as the diverse parts interact with each other musically – creating independent melodies and harmonies that merge into a fluctuating but unified texture.
2 South Bend
The pulsating bass and tape hiss hint at a world to come. Again, a polyphonic cloud of interacting melodies transport us to a dense, but forward moving scenario of South Bend. This is musical electronica, thoughtful and dynamic. It is refreshing to hear this aesthetic of sound without the necessity of a main melody harmonized in background chords – this is not a homophony, but a swirl of intelligent colors.
3 Doldrum Daydreams
Each track is consistent in perpetuating a self-supported sonic space. This album is more like a suite of like-minded sound collages than a collection of different moods. Every sound has a distinct function and modulations lead you down alternative paths through the daydream. This track is a three dimensional painting in many layers. Music like this can be played live, and loose none of its premeditated vigor.
4 It’s Just Business
A bouncy arpeggiator invites the listener into a tunnel that winds it’s way through the mechanical landscape. The processed flute blends so well with the digital sounds. A composer like this is familiar with the orchestrations of the past; but, fully aware of the textures and sounds of the present. His harmonies are never accidental, but they also never feel forced – “it’s not personal, it’s just business” What a beautiful flute choir at the end!
5 Replicant
A melody with such an interesting sonic signature begins the piece. Drums do not merely underline the rhythm, but add a layer of interaction that propels this track forward. In this music, modulation always leads us onward and upward; but never away from the musical core. Off-center rhythms and rubber bass lines create a dynamic density that enacts a musical chairs game – playfully. This music is clearly digital, but unmistakably analog and organic- exactly like a replicant dreaming of electric sheep.
6 All Is Love
The long tones of the bass line is broken up into rhythmic fragments, and filtered up and away from the low frequencies – into the highs. A shimmering melody joins in before the beat cements the visuals. Technically, the use of modulation adds a dimension of sound manipulation which allows the repetitive parts to always shift and morph musically. There is a nice contour to every track, building up to a certain point before sedated breakdowns. The processed flute returns, continuing a consistent sound-scape which runs throughout this record. A flute choir gives the meat and delivers us to love.
7 Night Heist
The opening arpeggiator is a long phrase which morphs into delays across the stereo field – widening our acoustic gaze. A resonant and shifting bass is corrupted through low frequency modulation, before the percussive groove comes in. Melody is never far from us, and textures are never predictable or static. This darkly lit room is wide across the left-right blend; and it is deep as many sounds of different volumes interact quite beautifully. Another meditative flute choir is conjured up to distract us from the night heist, while the jewels were stolen before our ears.
8 Highlands
A bagpipe from the future greets us on the highlands – it beckons us to dance to a neo-scottish theme. A bright flavored drone precludes a musky melody in the bowling greens. One catches flashes of techno-organic butterflies. A lush parading ensemble moves us along a conveyer belt of clarinet-like hands.
9 Smoke In The Distance
A down-filtered frenzy of self-guided sounds. The lazy smoke swirls and entices us to dream of what lies in the distance. The bass figure disappears, while the smoke fills the sonic room; but, it returns before the entire floor falls out plunging the listener far below. Dark bells tell us that there is something large and far-off that is causing the smoke; while assuring us that it is nothing to be afraid of. Suddenly, we have been thrust into the world of opiate illusion, and crossed a threshold that was hidden. The track ends with a lingering echo of the old world that we left behind, never to be found again.
Chicago, November 2020
Kelvin Sholar – Pianist, Educator