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Written by Guillermo Escudero   
Sunday, 13 May 2007
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Andrew Pekler, “Cue”, Kranky, 2007


 

Andrew Pekler, ‘Cue’, Kranky, 2007

En 1995, Pekler se mudó de Estados Unidos a Alemania y desde entonces se ha involucrado en una destacada carrera musical editando numerosos álbumes, EP’s y singles bajo los alias de Sad Rockets y Andrew Pekler y con este último se editaron ‘Station to Station’ [~scape, 2002], ‘Nocturnes, False Dawns & Breakdowns’ [~scape, 2004] y ‘Strings + Feedback’ [Staubgold, 2005].
A la orientación jazz, techno y electro de sus anteriores álbumes, “Cue” está más focalizado en las texturas que en los ritmos, sino que en las melodías a través del piano, sintetizador análogo, guitarra, percusión, siseos de vinilos, timbales y feedback.
Pekler revisita los primero paisajes sonoros de Brian Eno, atmósferas íntimas y encantadoras armonías como en “Vertical Gardens” y en “Dim Star”. “Roomsound” con sus ecos de percusión indefinida, desarrolla ritmos mecanicistas con un atisbo de jazz, en tanto que el beat en “Steady State” entrega algunos toques de electrónica. La guitarra ruidosa en “Floating Tone” recuerda a Spacemen 3 y sus repetitivas notas de piano sugieren un cómodo entorno.
www.kranky.net

Guillermo Escudero
Mayo 2007

 

Pekler relocated from the USA to Germany in 1995 and since then he has been involved in a remarkable musical career releasing numerous albums, EP’s and singles under the monikers of Sad Rockets and Andrew Pekler and with this latter alias were released ‘Station to Station’ [~scape, 2002], ‘Nocturnes, False Dawns & Breakdowns’ [~scape, 2004] and ‘Strings + Feedback’ [Staubgold, 2005].
To the more jazz, techno and electro orientation on his previous albums, ‘Cue’ is more focused on textures rather than rhythm but melodies through out piano, analogue synthesizer, guitar, subtle percussion, vinyl crackle, cymbals and feedback.
Pekler revisited the early Brian Eno soundscapes, intimate atmospheres and gorgeous harmonies like on ‘Vertical Gardens’ and ‘Dim Star’. ‘Roomsound’ with its echoes of unidentified percussion unfolds into mechanical rhythm with a jazz-flavoured, while the pulsing beat on ‘Steady State’ delivers hints of electronica. The fuzz guitar on ‘Floating Tone’ recalls Spacemen 3 and the repetitive piano note creates a cosy place.
www.kranky.net

Guillermo Escudero
May 2007

 

Last Updated ( Monday, 21 May 2007 )
 
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