Is seven years too long a gap between albums, regardless of an intervening workload? With a starry history dating back to the ’90s you’re expecting that with The Advent’s now solo pilot Cisco Ferreira, experience will count for everything, but the album format can be a disrespecting saboteur. Introduced by the stinging if rather aimless 8-bit electro passage “Present Voyage” that doesn’t really make sense until it finds an opposing bookend in “Electric Pandemic”, you’re none the wiser as to whether Ferreira’s playing catch up. (Intentionally sounding ancient isn’t big news nowadays.)
Sonic Intervention is mapped out where The Advent hops off his rocket, fights fierily at ground level, then remounts his vessel. The crux of the record is techno thundering along, and wringing jugulars like they’re dishcloths. “Gamora” is murky, wading before it starts grooving to a click-clack of pistons and pulleys, and Ferreira soon gets nose to grindstone to knock out bolshie battlers “Arrival” and the grimly good “Body Count,” grinding away as pulses race as quickly as knots in stomachs are tied until they’re looking to make a herniated exit, with only “Disco Diva” dragging itself from the depths with funky loop action. That electro foreword and finale are still questionable; the meat in the sandwich is the work of a master chef. File under: Mr G, Cari Lekebusch, Rogue Modelz
It’s not customary to split hairs with someone like Cari Lekebusch, the inexhaustible techno tactician from Sweden. His latest is a double album of pure techno that won’t give you as much as a passing look, the kind of dance floor hog that holds grudges like its firstborn and takes holidays in black holes. Without hammering out a senseless template it slyly expands minds, refusing to relinquish its grip on your grey cells.
The lack of deviation, or dutifully sticking to a game plan, means the most conspicuous tracks — only a couple of them — are easily identifiable because they buck the trend of a procession blurring into the same dark hue. It’s far from a scientific discovery: whereas the system moves from left to right, the harder funker “Boiling the Frog,” the jumpier “Ghost Notes” and the dubbed-out finale “Vanishing Act” go up and down. Lekebusch is conducting by producing ‘live’ and manipulating block bars of sounds, adding what’s available on the run as and when (“Black Diamond” bears a discernible riff in isolation).
No good for home listening? Hmm, harsh, but given this mission statement, maybe true. Maybe Lekebusch’s transitions and weight differences are too subtle for their own good. A split decision? Try telling that though to techno heads briefed on Lekebusch’s insularity – they’ll be more than happy to accept the hybrid label. File under: Braincell, Alexi Delano, Mystic Letter K