Par DJDemonAngel le 18 Juin 2012 à 09:43
Lorn returns with a new full-length album, his debut on Ninja Tune, and it’s a huge stride forward since Nothing Else (released on Brainfeeder, June 2010). Listening back to his first album, Lorn
says it now seems “cold and strict.” Ask The Dust, on the other hand, is “haunted, oily, smeared,” and with this description he captures something of the intensely felt, visceral aliveness of the
If Lorn began his musical career as a poet of alienation, then Ask The Dust (named after the 1939 proto-Beat classic novel of the same name by John Fante) sees his music develop a more human
energy. In particular, the use of his own singing voice (a process which began on the last track of Nothing Else, “What’s The Use”), which has added a new dimension to his often crunching and
brutal but never less than beautiful electronic music.
Take “Weigh Me Down,” where Lorn comes surprisingly close to glitched-out soul music. It would be easy to overlook while reaching for muscular superlatives, but his music is also supremely
melodic, where a tune like “The Well” (ostensibly “a soundtrack to being buried alive”) is memorable for a melody that nags at your brain long after the music has stopped.
“Dead Dogs” combines spectral choirs with explosive drumming, (one of three tracks with live drumming). “Chhurch” combines the feel of early electro with Lorn’s own highly developed aesthetic
(originally written on tour, GonjaSufi came up with lyrics to accompany it, but never recorded them anywhere else save his iPhone). But it’s on a tune like “Ghosst” that he shows the sheer energy
and raw drive he commands. It is exhilarating and slightly terrifying all at once.
Other highlights include, "This", a wipe of a hand across a chalkboard, so to speak. A simple sequence to reset things, a mantra to calm the nerves. "Diamond", was among the first written for Ask
The Dust, while Lorn was still up in northern Wisconsin, the last surge in his isolation, over the expanse of the lake in the house his grandfather built
Since the release of Nothing Else, Lorn has toured the world alongside the likes of Mary Anne Hobbs, Amon Tobin, and GonjaSufi to name a few. He became a devout owner of a B5 A4, and much like
his dedication to music and art, wasted no time tearing it apart in order to learn how to put it all back together again. Ask The Dust suggests he’s learnt to do much the same with his
03. Weigh Me Down
06. Everything Is Violence
07. The Well
08. The Gun
09. Dead Dogs
11. I Better
Par DJDemonAngel le 23 Juillet 2011 à 12:28
Origine du Groupe : North America
Style : Electro , Beatmaker , Breakbeat
Sortie : 2010
By Mike Diver from http://www.bbc.co.uk
Lorn lives in the Middle of Nowhere, Illinois. Why does this matter? Because ‘til now Brainfeeder hasn’t worked with an artist without some roots in Los Angeles, home of label lynchpin and sonic
tapestry weaver extraordinaire Flying Lotus. Think Dischord and DC, Constellation and Montreal – at their beginnings stables for locals to filter their art through; now, both are essential
threads sewn tight through the fabric of the global alternative music community. Too soon to suggest Brainfeeder will go the same way? Not on the evidence served hot by Nothing Else.
As a hot album this most certainly is – hot in the sense of being so very now, in the wake of the stutter-beat pigeonhole-eschewing masterpieces presented by FlyLo and his many almost-there-peers
(brethren for the sake of an easy parallel); and in terms of just how caustic some of these compositions are on the synapses. If the heat isn’t felt by the close of Bretagne, then Automaton will
set that unlikely situation straight. How best to convey just how the track collapses the canals, smashes up the inside of the skull, and then disappears into the dark trailing bloody, broken
remains behind it? Without Actual Physical Violence: a conundrum fit for a comic book villain in too-tight tights. Be sure to clench everything.
It is one of a handful of numbers here that treads ground also occupied by King Cannibal, so far as gut-busting, knuckle-whitening bass goes; through the right speaker set-up it, as well as the
twin Voids and the ironically titled Greatest Silence, will threaten the very foundations of whatever basement/bedsit/black hole it’s cranked out from within. The tracks that pop and fizz, spit
and bubble are closer in keeping with the dubstep world’s more visible protagonists, each detached vocal bringing Lorn closer to a commercial centre certain to earn pounds as well as plaudits.
But this man is no Starkey, no Benga, and certainly no Rusko – good-time vibes are conspicuous by their absence, and the prevalent vibe is one of peculiar melancholy. Whenever the otherwise
pervading menace subsides, anyway. Take Army of Fear – though set to a military percussive motif that’s reminiscent of a thousand rap backing tracks, the keys emanate a pain unique to the darker
corners of contemporary electronica.
Another couple of out-of-towners like Lorn, and Brainfeeder will have itself quite the army of aural assailants ready to invade territories anew.
01 - Grandfather
02 - None an Island
03 - Army of Fear
04 - Bretagne
05 - Automaton
06 - Void I
07 - Void II
08 - Tomorrow
09 - Glass & Silver
10 - Cherry Moon
11 - Greatest Silence
12 - What’s the Use
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