(Creative Sources)

The mystery surrounding this music is equal to my ignorance about the composer, but this is one of the most fascinating releases that I’ve heard in 2008. Geisse used electric guitar and bass, signal processing, field recordings and voice to father a fairly unpredictable album that stands halfway through serious acousmatics and the living room experiments of an evolved home recording geek. “Per sona” opens the CD with a mix of rarefied movements and contrasting frequencies, mostly remaining on the dark side of the sonic spectrum. The title track exploits processed hums, vocal fragments, interference and various types of glitches together with extended techniques on the instruments, the whole manifesting its significance in ever-surprising spurts where scenes changes continuously in a concentrated exposition of accurate tampering and heterogeneous noise. “Grattager”, the longest selection on offer, is also the one where bass and guitar – although treated with effects – are initially recognizable, chiming harmonics and rumbling tremolos sparkling ethereal combustions of long reverbs and delicate dissonance. But after a few minutes the piece becomes a nightmare of slanted waves paralleled by morphing ambiences, dramatically turning the whole into a rather inharmonious picture – which is even more absorbing from this point of observation. “Das diskrete Jetzt” is a cross of free improvisation and selected studio manipulations, coming off as the most anarchic segment of the lot (it recalls both Tim Olive and Paul Dolden to these ears), while “Die Quelle” ends the show with a juxtaposition of elongated utterances and electronic titillations. A record that deserves repeated attentive listens from a musician whom I’d easily define as a revelation.


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