Artiste du label 17 Sons Records (www.17sons.com), Urmal Vesnat utilise le dispositif suivant pour produire sa musique : opposition entre un rythme électro et une nappe synthétique ne jouant que quelques notes de manière aléatoire.
Cosmic Crisis Part 1 a lovely spaced out floating morass of sound and easy rhythm, like a tuneful asteroid cloud. Nice minimalism for a minimalist space and time. Part 2 of Cosmic Crisis is somewhat more dynamic, with a more evident structure and more apparent movement and development of this particular duo. The echoing construction seems even deeper and more spacious, with a nice ending.
Convexity Part 1 bulges with billowing synthetic movements in a mid-paced space. Quite dark in feel, in a serious way. Lovely variations on the theme as the piece progresses. Part 2 of Convexity, is lighter in its minimalist essence. The convexity thus expressed makes me think of one of those pieces of art that trick the eye in that it could be coming out at you as much as deepening. Like aural Escher in a curiously perspectivised construction. Nice track.
Moraine Part 1 slowly grinds into existence and makes its presence felt, with lovely variations of slow motion synthesis. Elegant and unstoppable. Even though it keeps trying to stop it cannot halt its movement, millimetre by millimetre, unseen by the naked eye. Its progress inevitable and fateful. Some beautiful sounds accompanying the movement. Part 2 continues the thread, though it is more fullsome at the start, sounder sound expression, whereas the former was more erratic to begin with. It is a track that conveys an acceptance of the fateful journey, the necessary expanse and current of natural phenomena by means of digital musical expression, seems almost contradictory. It peters away, grinding to dust almost, though there is some reprise as it discovers new material to work on. Nice album.
An ebbing and flowing of some primordial soup in prolog01. Almost seems aimless but the point begins to evolve. xxe2temp develops in a subtle way, again there is something primeval about it, which is a strange feeling from technology, like it is going backwards and this is anti-music. I notice someone complaining about there being no melodies. Supermarkets have plenty of melodies, if that is any help for your search? Anyway, it is minimalist techno musical expression and its melodiousness is long and large making it difficult to 'pick up'. Whereas it's easy to pick up some cheap tunes from the supermarket. prolog02 continues in the same vein, no easy listening, no beat to tap your foot too, oh dear!-) Great simple structures filled with simple but effective soundscaping, maintained well over time, it's cycle being almost too large for the track itself. That makes it something like 0.7bpm!-)
hjnuno99 continues the ambience, which does have some percussion involved but it is minimal, so be warned, unless you are one of the borg you might not like it. It sound manipulation again is large, deep and quite dark and the epitome of this particular artists method of creative expression. prolog03 continues the prolog cycle, in a Wagnerian style, long and difficult to digest easily. That is 'has no melody' is in itself of great interest to me, but then I am a bit strange. openAA seems to have a radioactive isotopes half life as a rhythm section and the Geiger counter never stops, but I really like it but long enough to detect the rhythm, which takes large steps. A nice piece of dark ambience again, atypical. The last piece, prolog04 completes the prolog cycle and there is a sadness to it, which is fitting, liked an unrequited love for someone out of your reach, in a strictly Platonic form of course. Nice album. Just what the doctor ordered... well, almost.