VLADISLAV DELAY – Multila (Huume Recordings)


Posted on Aug 17th 2007 01:03 pm

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Vladislav Delay: Multila

Huume Recordings 2007
07 Tracks. 71mins87secs

For over ten some odd years now, Vladislav Delay has been exploiting a simple collection of elements – dub, techno, ambient – and the different sets one can form out of them. In so doing, paradoxes and inconsistencies set in – on no seldom occasion, they were coddled, understood, and integrated, but at yet others, they remained an antagonistic challenge, representing a crisis and critique that sustained, on Sasu Ripatti’s part, an endless sliding from one motif to another.

Multila, an effort originally released in 1997, adroitly organizes such an environment, an, at times, diaphanous yet organized system that functions in denial of its own principle, and whose transgressions serves as its strongest supports. The centerpiece is found in the twenty-two minute composition, Huone. A simple rhythm kicks its way obliquely into an intricate, furious flow of tactile pungent chunks, steeped in reverb, which allows the piece to assume an uncompromising physicality. The physical dimension about Ripatti’s electronics has always been a strong point. Here, the dialogue of tensions – scratchy stridulations and abstract twittering receiving and being received by lower-end drones – asides from being a source of intrigue in and of themselves, maintain the sense of being enclosed in a colossal resonant chamber for extended periods of time.

Pietola, further discloses that Ripatti could well have been simply another accomplished hip-swayer, the stumbling house rhythm and countless samples floating along the top waves of heaving bass drones are indicative of a certain jouissance, yet he is seduced by skewed studio perspectives, contorting this framework into a molten metallic attack that is here and then gone, and which proves suggestive of barely glimpsed memories.

In the process of trying to develop, sometimes rhythms grow limp and tracks stagnate for unnecessary periods of time. Occasionally, though, each track manages to seep into the next, not only on account of the beatless ambience that appears now and again, but owing to Ripatti’s more or less consistent ability to eerily edge rustling percussion and scabrous textures into a more rogue soundfield. Fragile, tentative yet refreshingly assured, it is a work that often transcends its nodal points, and some seven years after its original release, it still provides a layer for interpretation.

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