AM ENDE DER WELT

The vastly creative mind of Ketil Vestrum Einarsen and collaborators Matthias Olsson and Jacob Holm-Lupo are at it again. While their previous effort, 2017's masterful "update" of the Krautrock musical scene, Sehr Kosmiche, Ganz Progisch, this one is far more futuristic--employing extreme computer processing techniques in both the treatment and recording of the instrumental sounds captured here but also in the final rendering of said sound. While the album does have some similarities to Sehr Kosmiche, Ganz Progisch, but is definitely its own beast. The composition is intended to be singular but due to the limitations imposed by Bandcamp has been renderd into two "separate" entities. The music is, to my ears, some kind of modern classical music ' la Karlheinz Stockhausen. If one has the opportunity to hear Jacob Holm-Lupo's "binaural" rendering of the music, you will definitely feel the distinctive "classical" component parts and musical styles being here "modernized"; the other version gives more of the impression of a linear assault on the brain.

Line-up / Musicians: - Ketil Vestrum Einarsen / computer - J'rgen Mathisen / saxophone harmonics - Gaute Storsve / guitar - Jan Terje Augestad / treated piano - Maria Grigoryeva / strings - Molesome (Mattias Olsson) / turntables

1. "Am Ende Der Welt" (Side A) (24:18) The way this starts--with a kind of experiment in modern recording techniques and wave-treatment effects of strings, horns, electric guitar, and piano, I thought I was in for something like a GODSPEED /YOU! BLACK EMPEROR song, but then the computer drum beats and other glitch noises begin. This is not the same music as that produced for the band's heavy-into-Krautrock 2017 debut album. It turns very experimental--a kind of cross between the primal "tribal" music of Yoshimi P-We and some the most "out there" music of Markus Pajakkala--all accompanied by the steady strings of the Kronos Quartet! The odd thing is, I really like this! Especially the Steve Reichian third, chamber first and fourth motifs and the drawn-out drone and experimental glitch "dulcimer" (treated piano) middle. Int he fifteenth minute, the cacophony of earlier sounds and layers climbs back into the soundscape, taking over with the insistence of a race car cruising through open country vistas. After the stark sparseness of that middle section, the return of craziness almost feels comforting, "normal" which I find very interesting; being a nature lover and city-hater, this is not what I would have expected my reaction to be. The scale back to the third Steve Reichian motif in the twentieth minute is equally fascinating for my bodymind's reaction to it: as if there are essential melodies being woven together here. I am blown away! What a ride! And now, after my third "trip" through "Side A" I think I'm in love! I am Pan, primal goat-man, looking for a place to sow my seed. Any place! Please! It's all so beautiful! (48/50)

2. "Am Ende Der Welt" (Side B) (18:20) And the party continues! (Apparently this was recorded as a single song that had to be split into two due to Bandcamp's restrictions.) This half opens with sustained horns and piano hits behind "alien radio static." Very cool. For some reason I'm reminded of the evocative warmth of MARK ISHAM soundtrack music being used for some moving like Contact. At 2:18 heavily-treated computer drums enter--adding more to the "alien" feeling than to the human emotional side. The droning horns and strings try to drown out the drums as a syncopated bass note (coming from the treated piano) becomes equally insistent. In the eighth minute the horns drop back revealing layers of electric guitar and synth that were playing there all along, hidden beneath the scream- squeal-and-bark cacophony going on up front. It's unnerving, it's beautiful; unsettling and calming all at once, depending on your "distance"--and it goes on for 12 minutes before showing any signs of letting up! At times I'm thinking I'm in the Scottish highlands, at others hearing a mother's lullaby, and others the vicious sounds of a pack of wolves in pursuit of and ripping apart their prey. Amazing! As it does let up in the 14th minute--various instrument tracks being removed or whatever--it becomes monomaniacal in an Ornette Coleman kind of way. Hard to believe that crazed sax was there the whole time! I think it genius--though I'm not sure I'd ever play this for easy listening background music. (38/40)

Total Time 42:38

Now this is progressive rock! Ketil & Co. have definitely used all the tools to take there sound experiments into seldom-traveled territories. Bravo! Kudos! This won't be everyone's cup of tea, but you have to respect the vision and cajones it took to see this through from conception to release! I'm not sure which I prefer, the "standard" rendering that I first heard (three times) or the more humanely dissected soundstage of the "binaural" version. Both are worth the time for the different experiences. Compare and tell me which you prefer and why!

Five stars. While I think this album release a masterpiece of truly progressive rock music, I extend this precautionary warning: THIS MUSIC IS NOT FOR THE WIMPY, LIGHT--OF-HEART, OR GUTLESS; it will take curiosity, patience, courage, and and open-mind in order to appreciate. If this is not you, then I recommend staying far away. If you are at all curious about Ketil's intentions when creating this album, check out the excellent interview with him by Sander Roscoe Wolff at positive-feedback.com, Issue 104, August 14, 2019.