Hamburg's percussionist and dance music composer Sven Kacirek
coined a new genre of electronic music that uses world music as one of the
The Palmin Sessions (Pingipung, 2007) and
The Kenya Sessions (Pingipung, 2011) mix live
percussion, electronic sounds, digital programming and field recordings of
folk music into smooth and atmospheric structures that resemble post-rock
Kacirek played all the instruments on
Scarlet Pitch Dreams (Kompakt, 2012) with little or no studio magic
except for the widespread littering of found sounds.
The choice of timbres (like the xylophone) and of hinted melodies
(if not fully fledged refrains) shapes
detached kitsch music that mocks neoclassical music and film soundtracks of the 1960s
(About You and Me, Or Other Stirring Or Boring Tales).
It is not quite the jovial postmodernist nostalgia of the
Penguin Cafè Orchestra, but
a more radical reconstruction and decontextualization of sonic stereotypes.
(It Is Not About Love, the
seven-minute Cars & Nightingales, the nocturnal and ethereal
Embraces Eleven Ideas)
Kacirek indulges in an original fusion of
skittering African polyrhythms and jazz-rock.
The ethnic motiv peaks with the
intricate percussive patterns and ethereal female vocals of
Scarlet Pitch Dreams.
Sometimes the percussion virtually disappears, revealing the glitchy
interferences that were not obvious in the other pieces: hence the
piano elegy Turned Into What You Listen To and the martial piano
meditation of Turned Into What You Listen To.
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