PROPERGOL Y COLARGOL

Charly.roger (songs for fuzzycandy) lp

CDR/download, autres directions in music

Some go further than others and some find places completely of their own along the way. The two musicians behind Propergol Y Colargol obviously tried to find the auditive analogism to being drowned in honey. A slow, thickly and encompassing thought, that feels sweet and gross at the same time. Sounds flow up and then get immersed again in a syrupy, slowly moving paste of more sounds and more sounds. Of course, we are talking drones and ambient sounds here, but not of the icy cold variety that stretches long and distant paces (like Cordell Klier) or emotionless, intellectualised art-experiments that are more interested in the effects of frequencies than in their soul (like Kaffe Matthews). P&C offer a heartful and astoundingly emotional carpetry of sounds all through the eleven tracks on “charly.roger”:

I prefer those pristine moments in their music when time seems to stand still, between the variations of several parts. When the bass-keyboards and the flirring synthesizers seem to wave in motionless stasis like the hot air in mid-July about a minute into “ass.music.etna.zö club”. But then more sounds set in, some stop, some noises seem random, others move into the field of aural vision from one side and leave to another. What computers can do, when operated by a mind and a heart. But is it possible to repeat (not to talk about imitate or even prognose) the seemingly chaotic and random movements and sounds produced by nature? How would listeners, conditioned to rely on music that is structural and obeys the rules of harmony, react to these sounds – assuming that the natural code that also produces these natural sounds is still somewhere inside the natural side of their minds, their bodies, their brains?

The opening sounds to “benjamine’s spasm” sound a lot like sitting in front of a country house and listening to the nightly sounds of insects and the wind rustling to trees in the distance. Funnily, it is exactly that song which makes it clear after a few more seconds that all those sounds are computer generated. Moreover, it is the first song to present a definite beat aka rhythm into the mix. Up to there rhythmical details all came from looped noise-bits and the repetitive manner of digital noises and bass-notes. But all the way through there is the atmosphere of organic evolution and natural harmony (as opposed to art-linked harmony) that is completely absent from the sound of machines or industrialism. The drones breathe slowly but deeply, like a young man sleeping.