"Still drawing from the array of vintage synths that are his bread and butter, Groetsch paints here with short-attack, long-release choir tones; where his sequencers previously bubbled in the fashion, here they press closely against the listener's ear like the ones used by the Japanese producer Shinichi Atobe. The tone is urgent and almost panicked for much of the first half,"
"Though Groetsch's been recording for HausMo for years, he's something of an outlier on their roster. He's been prolific on many labels for more than two decades, starting in 2002 with the hard-to-find IDM pastiche Slem, and he lives in Portland rather than Chicago, the experimental-music hotspot that's the source of much of the label's core catalog. His music for HausMo has leaned more sedate than recent releases like d'Eon's chamber-prog medulla-y"
Tide Pools uses vintage synthesizers to create short-attack, long-release choir tones and intense sequencer patterns that press close to the listener. The first half is urgent and almost panicked, exemplified by "Energy Flying," which manipulates a Logic Pro "South African Voice Effects" preset through backmasked interruptions as sequencers destabilize. The second half relaxes into quieter pieces such as the chittering "Critters" and the pinging, Barker-like "Scattered Clouds." Groetsch has recorded since 2002 across many labels and resides in Portland, positioning him as an outlier on the Hausu Mountain roster where his work has tended toward a more sedate tone.
Read at Pitchfork
Unable to calculate read time
Collection
[
|
...
]