お取り寄せの商品となります
入荷の見込みがないことが確認された場合や、ご注文後40日前後を経過しても入荷がない場合は、取り寄せ手配を終了し、この商品をキャンセルとさせていただきます。
フォーマット |
CD |
---|---|
構成数 |
1 |
国内/輸入 |
輸入 |
パッケージ仕様 |
- |
発売日 |
2018年09月07日 |
---|---|
規格品番 |
KOMCD148 |
レーベル |
|
SKU |
880319942822 |
構成数 | 1枚
合計収録時間 | 01:03:48
Between his third and fourth Kompakt albums, 2010's Gute Luft and 2018's Los Lagos, Thomas Fehlmann was typically immersed in one project after another. Among them were numerous Orb adventures, a smattering of short-form solo releases, and the Terrence Dixon collaboration We Take It from Here -- the latter released fittingly on Tresor, home to the Berlin-Detroit connections Fehlmann instigated in the early '90s as part of 3MB. Always open to creating in tandem, Fehlmann reunites with old comrade Max Loderbauer on Los Lagos, but it's for only one track, a slightly nutty blipping contortion suitable for a third Schaffelfieber compilation. Los Lagos was otherwise made in solitude. Although its title refers to an informal friendly greeting, its literal translation, "the lakes," is reflected in the natural continuous motion the tracks evoke, not unlike the majority of Fehlmann's output since the mid-'90s, marked as they are with titular references to water and motion. For listeners accustomed to Fehlmann's work -- his diverting, gently shimmering dub techno grooves in particular -- nothing on Los Lagos will seem novel. However, some of these tracks skim and sweep with a heightened level of ease, as if Fehlmann devised a generative music system and subtly reshaped some of the results on the fly. Fluidity notwithstanding, pronounced elements streaked across the tracks prevent Los Lagos from merely washing over, distinguished with elements that jut, spangle, and gently ring in configurations that vary from Fehlmann's prior output. The slyest twist -- what sounds like a wisp of a recording from a certain late jazz guitarist -- is applied on "Neverevernever." ~ Andy Kellman
-
1.[CD]DISC 1:
-
1.Lowenzahnzimmer
-
2.Window
-
3.Morrislouis
-
4.Tempelhof - (featuring Max Loderbauer)
-
5.Freiluft
-
6.Triggerism
-
7.Neverevernever
-
8.Geworden
-
-
パレ・シャンブルグの時代から数えると40年近く第一線で活動している、もはや怪人といえる翁の最新ソロ作。重くダビーなミニマルや実験的なテクノが淡々と進むなか、ちゃんと展開や仕掛けがあってそのひとつひとつが美しくカッコ良い。牧歌的でダブでロックな"Neverevernever"というラスト前の曲が最高で、その後に幽幻なアンビエントでアルバムを締める完璧な構成に、齢60を超える手練れの奥深さを感じます。
bounce (C)池田謙司タワーレコード (vol.419(2018年9月25日発行号)掲載)
欲しい物リストに追加
コレクションに追加