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| Pluramon's slow, deliberate sound resides in the same neighborhood as
Tortoise, Aerial-M and
the math-rock crowd, while remaining within comfortable driving distance of
Can and Morphine.
These tunes, bereft of vocals, make use of a variety of eclectic
instruments (glockenspiel, anyone?) and
manipulated sounds, fusing them to intricate metallic percussion patterns
to create a peculiar sort
of claustrophobic intimacy. Sometimes, as on "formant", the drums approach
a hip-hop style and
pace, and you sit on the edge of your seat waiting for a vocal that never
comes. Other times, as on
"gloop", it's hard to imagine a vocal that wouldn't be overpowered by the
aggressively interlocked layers
of melody. The lengthy "hintergrund" is a high point -- trippy, circular
and mesmerizing, it's half
slowed-down jazz and half analog acid trip, seasoned with the trappings of
outmoded technology.
If you hear elements of seventies Krautrock in Render Bandits'
polyrhythmic percussion,
it's probably because German artist Markus Schmickler enlisted Can's Jaki
Liebezeit, as well as
Mouse on Mars' Jan St. Werner, to help create these sonic environments.
Perhaps that's part of
the reason that after listening to Pluramon, you'll feel like you've been
travelling through space and
time -- and trust me, mind-altering substances are not necessary. |
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