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Japanese electronic and digital musician Ametsub debuted with
Linear Cryptics (Progressive Form, 2006), in which he
contaminated abstract digital soundsculpting with kitschy atmospheres and
creative beatscapes.
Roving Pianist juxtaposes pulsating irregular digital glitches and
jazzy vibraphone-ish lounge music.
The Solo To Untamed Place is more of the same, but the melody now evokes
an exotic clarinet and the beats escalate towards a march of industrial machines.
The intersection of jazz, minimalist and glitch music is further explored
in the robotic samba Returner, the album's catchiest piece.
Lurid Sky And Tama Stream is a
fractured piano sonata that struggles to enter into a minimalist repetition
but segues into the syncopated danceable
I Am Not Into It If You Are Into It.
His craftmanship is particularly notable when it comes to the timbres and
dynamics of the beats.
Atrland harvests shrill cascading videogame-like beats.
Reminiscence infects crystal piano notes with shifting jagged beats.
The nine minute
Green Oeuvre shuffles confused melodic fragments and pointillistic beats
achieving a peak of timbral disorientation.
The essence of closer On Perfect Time, and perhaps of the whole album,
is the balance between moody electronica and tapping beats.
The Nothings Of The North (Mille Plateaux, 2010) opens with his most
straightforward rhythm, Solitude. Here the jazzy detours of the first
album have evolved into something similar to
Robert Wyatt's agonizing cacophony.
In Snowy Lava, on the other hand, that jazz element blossoms into
a robotic bossanova.
Repeatedly combines a tapping rhythm and relaxing piano jazz improvisation.
On the other hand, very little life is left inside the arid, heartless digital
desert of pieces like Mosfell. They are only about the perfection of the
tones.
Hence the surrealistic timbral experiment of Old Obscurity,
the futuristic collage of Off-road,
and the pure apocalyptic implosion of 66.
Elsewhere the composer demonstrates his ability to mold music out of nothing:
the theme and beat of Lichen With Piano emerge slowly from
dissonant chamber music via fractured jazzy lounge music;
and
an ecstatic soundscape sprouts up from the spastic beatscape of Peaks Far Afield.
The elastic bouncing Time For Trees, that evokes the industrial ballets of the 1980s, is almost childish by comparison to the depth and breadth of
the rest.
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