Tripper’s first track opens with a little
static, hushed vibes and a soft morse-like beep. Sonorous
strings arrive stealthily and are soon joined by a solemn
choir. With a title like Foetus there might
be just the wisp of a suspicion of archness or prog-rock
pomposity, but the effect of the music is reverent and
gorgeous with a seriousness of approach reminiscent
of recent Icelandic music. Swarming follows
with dancing vibes shadowed by the pitter-patter of
an unpredictable electronic insect. A female voice enunciates
a lone, incomprehensible sentence followed quickly by
a heavy synthetic rhythm rendered on a single note.
A male singer speaks/sings together with the woman.
Strings and acoustic piano and horns join them like
a lush tidal wave with the electronic pulse anchoring
everything together.
In these first two tracks Efterklang delineate a template
for their own very special soundworld. The male and
female voices singing mostly in tandem define, or at
least focus, the emotional key of this music. And emotion
- real feeling - is an essential ingredient of Efterklang’s
music. The sum effect borders on the sacred. The music
in its patience and sense of perseverance imparts a
sense of sympathetic healing. It is really difficult
not to be enchanted. Unfortunately the words are generally
not easy to make out, though their tone - at once mournful
and sympathetic - is unmistakable.
Efterklang are a 10 strong ensemble from Copenhagen.
Their name apparently means reverberation or remembrance.
On the evidence of this album, the group appear in complete
and remarkable control of their art. Sometimes it just
feels so good to experience a rush of emotion triggered
by music. The group join a small but growing number
of groups who marry electronica with acoustic instrumentation
in new ways, which sound effortless and unforced. There’s
something hushed and utterly sincere. The aforementioned
Icelandic influence is apparent, otherwise it is difficult
to think of precedents, though some tracks trigger an
association with Hana, the first track on Asa
Chang and Junray’s Jun
Ray Song Chang and the overall feel recalls
the proud, serious atmosphere of Ingmar Bergman films
such as Wild Strawberries or The Seventh
Seal.
Colin Buttimer
4/5 |
