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Trentemøller: ‘Fixion’

Recreational phantasmagoria for the future

Any James Joyce reader knows that words have wings to fly from its unambiguous letters’ formulation via phonetics and, at the same time, sounds can create new spellings and meanings. Well, let’s play this game. In phonetic transcription ‘Fiction’ is [‘fɪkʃən]. Voluntary or not, we can make a mistake by spelling ‘fiction’ as ‘fixion’, and the resulting sound will be the same, [‘fɪkʃən]. Joyce once said that “mistakes are the portals of discovery”. Let’s keep on this mistaking act, mistake upon mistake. Let’s convert error ‘Fixion’ #1 in error ‘Fix-i-on’ # 2, which goes to change the sound of it into [fɪks-aɪ-ɒn]. This excessive break of unity needs a spelling arrangement, at least to become ‘Fix I on’. Voilà, we’ve got a new framework: ‘Fix eye on’. Joyce took the ambiguous phonetic relationship between personal pronoun ‘I’, [aɪ], and the organ of sight ‘eye’, [aɪ], looking for the most personal view of modern times in “Ulysses”. NYC’ graffiti culture followed it unconsciously as well as Prince did it for the new alphabet fixed on the streets’ walls, and finally everything has been twitted and whassaped. We could go further on this creating exercise to end up into the state of ‘Fixation’, [fɪk’seiʃən], but that would need a ‘t’, [ti:], sorry, more than a cup of tea, [ti:]. Enough. Where am I going to?

All this goes to introduce what Anders Trentemøller explains about his fourth studio-album ‘Fixion‘, released through  In My Room a week ago (2016.09.16): ‘Fixion’ is an “unreal reality”, an imaginary construction. More specifically, a personal approach to what (was) it’s a musical reality, related to the late 70’s and early 80’s: post punk electronic way-out. It’s an obviousness to say that ‘Fixion’ belongs to a Joy Division, Felt, New Order and The Cure’ recreational phantasmagoria, because it’s a sound evidence for the twelve tracks of the album. Not only the mentioned but hints as varied as Suicide, Siouxie & The Banshees, Cocteau Twins, even brief repeating vocal rushes a la Patti Smith, and The Motels’ intro mood are spread through it. ‘Fixion’ is an act of love that deserves nothing more than a recognition; first for his sincere exposure and, secondly, for the bravery of being his own. That should never be used as a simple punch line.

The Danish musician/producer contemplates a universe, a parade of memories, a musical legacy that deserves a rereading in order to create from it. It’s not a matter of preservation. This musical movement has prevailed as one of the major influences for the last four decades, and it doesn’t need his intervention at all. What it is significant on Fixion’ is that contains a directional sense of future. We know what it’s been written, with every corresponding sound to each spell, and what Trentemøller has done is to take this well known framework, that immense rich musical ‘Phoenicia’ (used in historical sense) that was capable to trade guitars for synths, those visceral and raw attitudes into a never ending existentialist loops of industrial no-id’s and no-waves to a resume. In the meantime, using what we recognize in titles like ‘One Eye Open’, ‘Redefine’, ‘My Conviction’ and ‘River In Me’, along with instrumentals tracks like ‘Sinus’, evocative ‘November’ and ‘Circuits’, all inserted on an irrefutable skeleton of electropunk, he punctuates production details that deserve more than a listen, morphing a cohesive and assertive melodic statement of experimentalism, aside of what it’s evident and familiar to anyone. This driven-song effort needs voices in a concise well framed scheme, ethereal voices to be exact, colliding with what it is conceived as a more wide open and expanded sound proposal, compared to previous ‘Lost’ (2013). There are only three vocalists this time. All of them modulating a same kind of register: longtime fellow Dane Marie Fisker, Lisbet Fritze and Jehnny Beth. The latter breaks the vocal’s continuum atmosphere in ‘River In Me’, where she sings as it is demanded, like her leading role on British post-punk quartet Savages.

With “Fixion”, Trentemøller enters into the chapter of what electronics can do for the 21st century’s popular music, and he’s been incepted in a dark, minimal and romantic way, choosing one of the most creative fluxes that it is deeply rooted in our hearts. Expecting his output of ‘Fixion’ on tour, in a full-band conception.

20 anys de “Better Living Through Chemistry”

Big Beat, amb Fatboy Slim

Avui fa 20 anys que Norman Cook, l’exbateria dels populars The Housemartins,  va deixar nombrosos sobrenoms artístics enrere per debutar com a Fatboy Slim  amb un primer llarga durada, “Better Living Through Chesmistry”, publicat el 23 de setembre de 1996 a través de Skint/Astralwerks. L’àlbum és gràficament famós pel “floppy disc” que identifica la portada, un homenatge implícit a la corresponent de “Blue Monday”, el clàssic de New Order.

El seu primer disc d’estudi va incloure 10 temes, tres dels quals ja havien aparegut al recopilatori “Brassic Beats”, del segell Skint Records: “Everybody Needs a 303”, “Santa Cruz” i “Song For Lindy”. La resta els va enllestir en només dues setmanes. Tots eren optimistes, plens de sentit de l’humor, energètics i motivadors, amb genètica funky i molt de groove. Un acoblament salvatge d’incomptables “samplings” d’estils molt variats, que anaven des del rock i el pop a rareses del hip-hop, passant pel soul i el funk. El disc era la síntesi del seu treball innovador com a DJ. Considerat  un pioner de l’escena Big Beat, va ajudar a consolidar i difondre aquest eclecticisme estilístic des l’epicentre del Big Beat Boutique de Brighton i en les seves sessions a clubs londinencs com The End i Big Kahuna.

En els crèdits hi figuren, entre altres, el músic jazz-funk Idris Muhammad i el soulman Edwin Starr. El tema destacat és “Going out of my head”, que sampleja un riff de guitarra de Pete Townshed ( The Who), i el ritme percutiu de John Bonham, bateria dels Led Zeppelin.

El debut de Fat Boy Slim va aparèixer avalat per treballs precedents, que va editat des del 1988 mitjançant diversos projectes com ara  Beats International, famós per “Dub be good to me”, un “sampler” de “Be good to me”, original de la S.O.S Band; “Turn On, Tune In, Cop Out”, èxit firmat per Freak Power, que es servia de la melodia de “Low Rider” dels californians War, o “Magic carpet ride”, amb el sobrenom de Mighty Dub Katz.

A l’ultima edició del Sónar, Fatboy Slim va demostrar el seu caràcter “ravey” insobornable, enarborant la divisa entusiasta i vital de sempre: Engresca’t i balla!

 

Bob Moses: Un any d’emotrònica

El llarg recorregut d’un primer àlbum

Avui fa un any que es va publicar “Days gone by”, el debut en llarga durada del duet canadenc (Vancouver) Bob Moses. Es va donar a conèixer en el circuit underground de clubs de la ciutat de Nova York, principalment en els barris de Brooklyn i Manhattan. Aquestes actuacions els van servir per foguejar un repertori inicial, editat pel segell local Scissors & Thread. Amb el seu primer treball, Jimmy Vallance i Tom Howie van entrar a formar part d’una tendència que s’imposa per moments. Els dos són agents actius d’aquesta electrònica que, en el seu estat més líquid i permeable, s’escola per les escletxes del pop rock independent, un marc que el temps ha demostrat un pel maniqueista i amb necessitat de renovació. Serveixi de comentari al marge la sorpresa que reserva Bon Iver per al folk amb “22, a million”, àlbum previst per a final de mes.

“Days gone by” va ser un debut celebrat del 2015, una desena de composicions que omplien un espai vuit, que dialogaven entre l’actitud i els paràmetres indie del pop rock i la fluïdesa de la producció electrònica. El duet va saber utilitzar els recursos propis d’aquests dos àmbits amb habilitat. Tom Howie, amb la seva veu arrossegada i melosa, descrivia històries de fosca introspecció, envoltades d’atmosferes sempre noctàmbules. La instrumentació era convencional, tant com orgànics són els acords sostinguts de guitarra, els contrapunts de piano o el mateix ritme del picar de dits. Per la seva banda, Jimmy Vallance trenava capes i textures pel mig del relat, amb clicks, percussions minimalistes i línies de sintetitzadors que apel·laven tant a la tradició house com a l’electropop. El resultat era equilibrat i engrescador. La veu destacava en un flux sintètic, era emotivitat expressada amb sonoritat contemporània: emotrònica en estat pur.

La crítica va reconèixer els mèrits de “Days gone by”, i l’àlbum ha tingut un llarg recorregut. L’interès per Bob Moses va provocar que es publiqués “All in all”, recopilatori dels primers EPs del grup. La seva component electrònica ha atret productors com Matrixxmann, A-Trak, Joris Voorn i RAC, que han remesclat diversos temes de l’àlbum. “Tear me up” ha estat l’elecció estrella, de la qual els italians Tale of Us (Carmine Conte & Matteo Millen) n’han fet una versió de dimensió èpica.

Des de la publicació de “Days gone by”, Bob Moses ha passat de ser  talent emergent a una elecció pertinent en el calendari anual de festivals. Aquest any el seu nom ha aparegut en cartells tan prestigiosos com el Festival Coachella i la Miami Music Week , o al Sónar, on van superar amb escreix el repte d’il·luminar la seva proposta noctàmbula sota el sol del SónarVillage.

bob-moses_dgb_never-enough-edition_final

A mitjans d’agost, la discogràfica Domino Records va publicat una versió ampliada de l’àlbum. A les deu cançons de l’edició original, “Days gone by. Never enough edition” n’afageix deu més, amb dos bonus tracks, una versió acústica de “Before I fall”, tres versions en directe a més de les remescles abans esmentades.

Unknown Artist: ‘Bet Your Life’

Know this!

I clued this one back on the first week of August and it streamed like ‘Hey, don’t miss it’.  This weekend I’ve got the alert on my mail box and click immediately for a check out on Banoffee Pies.

Instead of a regular label policy, releasing artist/album in a one by one correspondence, this Bristol based imprint has the editorial convey of bringing out tracks from various artists of its catalogue on each release. It really makes a difference, hand-fed by vinyl-only’ accurate series and limited edition copies tagged in ‘12-10’. Following Part 1, dropped back in June and featuring Christian Jay, Larry De Kat, Florist and Crump, arrived Part 2 this Friday, the Black Label series’ second release, with tracks from Hansel!, KOKO, Niccolo Borgis, Adam Strömstedt, and an unknown artist. That’s the point, the outstanding “Bet Your Life”, credited to an unrevealed (Good to know him/her soon) sole producer, in what is presumed a bunch of house picks.

‘Bet Your life’ works up for a sweat from the beginning. It’s a raw groove, punctuated by guitar’s slashes and adorable old-school female vocals over a sharp house pattern. It takes you back in time at once, but keeps your feet on present’s ground, like a ‘know how’ everything (house) comes from. A lesson’s note from an unknown teacher who believes music is an unabridged portrait of time. This track deserves to be on 2016’ standouts list. Bet for that!

Els 5 anys de l’home-màquina: “Drive”

Clàssic cinematogràfic i musical

Avui fa cinc anys de l’edició digital de la banda sonora de “Drive” (06.09.2011, Lakeshore Records). El thriller neo-noir de Nicholas Winding Refn és un clàssic cinematogràfic contemporani, la simbiosi perfecte entre interpretació, guió, posada en escena i música.

L’actor Ryan Gosling dóna vida a un personatge anònim, que llueix un escorpí brodat al dors de la seva jaqueta de setí. És un mecànic i pilot expert, especialista de Hollywood en escenes d’acció que, de tant en tant, es fa un sobresou com a conductor solvent per a fugides en afers il·legals. És un professional racional i meticulós, que funciona com un rellotge. El seu codi d’actuació ve marcat pels cinc minuts estrictes que concedeix als seus “clients” des que surten del cotxe fins al moment d’accelerar de nou i sortir corrents. No hi ha temps d’espera més enllà d’aquest marge. Si es compleixen la seves normes, garanteix portar-los a la seva destinació sans i estalvis, circulant pels carrers de Los Angeles amb tota la parsimònia, sempre amatent a qualsevol contratemps i disposat a demostrar les seves habilitats al volant si s’embolica la troca. És un antiheroi actual, versemblant, de qui es pot especular sobre el seu passat conflictiu sense temor a errar. Un passat que sembla tenir dominat sota una aparença freda i distant. Les circumstàncies s’encarreguen de treure-li la cuirassa. El seu desig d’arribar a ser pilot de la NASCAR s’estronca en veure el desemparament d’una mare i el seu fill. La seva vida fa un tomb cap a la reacció, que és visceral i violenta, amb un final pensat i executat gairebé com a una immolació.

Winding Refn va definir el protagonista de “Drive” com a “mig màquina, mig humà”. Certament, és una màquina infalible a bord del seu Chevelle Malibu del 73. Aquest model de Chevrolet, l’últim dissenyat per John Z. DeLorean per a la marca, s’adiu a la personalitat del conductor fins a compartir part del seu protagonisme. Un cotxe que era eficient i fiable, amb tots els avançaments en seguretat del moment, però que no tenia la fama dels “musculosos” de l’època daurada de Detroit, els anomenats “muscle cars”. Malgrat les seves característiques, molt apreciables, va passar desapercebut al moment de sortir al mercat. És el cotxe perfecte, que ajuda a definir aquest personatge al volant. Li assegura total indiferència, cap curiositat pel seu gran potencial i prestacions. És la metàfora de la pel·lícula. Una carrosseria pretesament anodina, sense cap signe o voluntat de lluïment, que amaga un gran cor al seu interior, ple de noblesa i sentiments. És el retrat mateix de l’home-màquina que és “Drive”.

                            drive-central

Aquesta idea es reforça amb una encertada banda sonora original, creada per Cliff Martinez, responsable de la música que il·lustra pel·lícules com “Wonderland”, “Traffic” i, entre altres, “Sexe, mentides i cintes de vídeo”. El que va ser bateria de la primera època de Red Hot Chili Peppers es va inspirar en la fredor maquinal, però emotiva, del tecno pop, marc referencial establert per Kraftwerk des dels anys 70. A les catorze composicions instrumentals de la partitura, Martinez va tenir l’encert de afegir-hi artistes que, en el tombar de la segona dècada del nou mil·lenni, mantenien viu el llegat del synth pop dels anys 80.

     

El francès Kavinsky (Vincent Pierre Claude Belorgey) obre amb “Nightcall”, acompanyat per la segona veu de Lovefoxxx, la cantant del grup brasiler CSS. El tema dóna títol a l’EP publicat per Record Makers el 2010, produït per Guy-Manuel de Homem-Christo (Daft Punk) i mesclat per SebastiAn. La cançó defineix l’argument de “Drive”amb les quatre estrofes inicials: “I’m giving you a night call to tell you how I feel/ I want to drive you through the night, down the hills/ I’m gonna tell you something you don’t want to hear/  I’m gonna show you where it’s dark, but have no fear”.

            whole

El compositor i productor nord-americà Jimmy Jewel fa dues aportacions a “Drive”. La primera és amb “Under your spell”, un dels temes de l’àlbum “II” (Italians Do It  Better, 2009) firmat per  Desire, el grup que va formar al costat de Nat Walker i Megan Louise. La cançó il·lustra l’atracció mútua que experimenten el protagonista i la seva antagonista femenina, paper interpretat per l’actriu Carey Mulligan: “Do you know the difference between love and obssession?”

El francès College (David Grellier) col·labora amb els canadencs Electric Youth en un altre dels puntals de “Drive”. La cançó “A real hero” procedeix  de l’EP del mateix títol, publicat el 2009 pel segell belga Flexx.

“O my love” és la balada retro, el contrapunt d’aquesta immersió en el synth pop derivat dels anys 80. Originalment la interpreten Katyna Ranieri i Riz Ortolani a la banda sonora de la pel·lícula italiana “Addio Zio Tom” (1971).

Johnny Jewell, actuant com a líder del grup The Chromatics en aquesta ocasió, incorpora “Tick of the clock”, que va aparèixer a l’àlbum “Night Drive” (Italians Do It Better, 2010). El tema està fet a mida per a les escenes de rellotge del protagonista.

La repercussió de la banda sonora original de “Drive” ha contribuït a mantenir saludable la referència musical dels anys 80 més sintètics tant en el món del pop com en l’electrònica. Els exemples es troben des de Sky Ferreira, BØRNS, Bleachers o The Wombats a Com Truise. Precisament, el 2014, l’exdj de BBC Radio 1, Zane Lowe (actual presentador de Beats 1), va promoure l’experiment de crear una banda sonora alternativa del film. “Radio 1 Rescores: Drive-Curated by Zane Lowe” va rebre el vistiplau del mateix Nicholas Winding Refn, amb contribucions de Chvrches, Foals, Jon Hopkins; Bastille, Banks i  SBTRKT.

L’estètica musical de “Drive” i la seva influència arriba fins a l’actualitat. Hi és present a la banda sonora original de la sèrie de televisió “Stranger Things”, èxit actual de Netflix. Els seus creadors, els nord-americans Kyle Dixon i Michael Stein, membres del grup S U R V I V E , ja tenen enllestit el que serà nou àlbum del grup, que s’anomena “RR7394” i sortirà a la venda a finals de setembre.

 

Zomby: Ultra

Beyond Hardcore Continuum

“Ultra” is the fourth full-length album from the masked London based producer, who returns to Steve Goodman (Kode9)’ imprint after 8 years, where he released two breakthrough EPs in 2008, and contributed to “5: Five Years of Hyperdub” compilation (2009) before his provisional departure. It’s a homecoming of 13 tracks plus “Tenkyuu” (Digital Only), including guest spots by Burial, Banshee and Darkstar to which are added 2814’s Hong Kong Express (Dream Catalogue) and Rezeett-! (The Trilogy Tape).

                               zomby1

Basically, it’s music for the head though not one might refuse its counteract potential for a signature’s spin. Zomby needs that kind of friendly support to signify his sound, because “Ultra” is a turning point from his deep, rooted UK centric vision. It’s more than his ever twisting manners, his well known interlaced dubstep, UK garage, jungle, and eskibeat. This time it’s a radical reflection about which direction to take, confronting all those sentimental memories related to his music and outlined in years of experience to draw a conclusion. He describes the process, simply and sincerely. It all comes with some virtues, not only for the bravery of observing himself but for being almost a statement to include in what it’s called hardcore continuum. He works with the personal hallmarks of what he does best, cutting vivid traces of eski-grime, R&B, hardcore and jungle but, in this case, in a restrictive length, enough for being indentifiable assets, to encrypt a wrapped up thaw that belongs to nothing but him.

 

“Ultra” is a soundscape, a laboratory of musical thoughts, placed with a lot of space around, isolated in central position, on a flat field. There are many late nights in it, remembered as hooded up walking but mostly being locked to the green screen glow of enlightenment. A rainy one is falling intense as drops of a dialogue. There are also few steps to the window for street’ echoing, but lots of retro video games and memory sounds that belong personally to him and, in general, to the 90s rave culture.

 

Some goes directly to previous albums, like “Isis” (“With Love”, 2013) coming down into “Reflection” for the opening track, a sci-fi bleeped thesis with a female voice concluding “What is a reflection?” Zombie knows how to put the answer. He deconstructs from the Wiley Kat’ beginnings of grime to remote UK hardcore tunes and those buried in deep old school of jungle. It’s a waving goodbye exercise, described from key notes, mental snapshots of what to keep and what to refuse, what to “Freeze” and what to “Thaw”. In that sense, once are identified there are no worthy anymore: time to fade out, as unceremoniously they were in.

 

With the complicity of labelmate Burial’s narrative and cinematic ways, he creates “Sweetz” as an interrupted chapters of stylish outputs layered under a ghetto house in jungle, a drum shuffle melting fragments of a life, only being basted by a vocal loop repeating “Got me fucked up”,  surely one that will love any trap follower. There is something of crossover appeal in “Fly2”, where Banshee’s heavy breath turns into an abroad R&B kind of taste of what Zombie & ReARK did for “Natalia’s Song”, a “Dedication” (2011) track. Zomby finishes what was “Reflection in Black Glass” and extends it onto pristine “Glass” garage bounce that relates to Kode9 and LD collaboration. Jungle is London inflected in Caribbean steel-drums, and that can be found as “Quandary”, for the purpose of Zomby & Darkstar.

 

Apart from “Sweetz”, which gives extra value to “Ultra”, having not heard anything from Burial since his single “Temple Sleeper” (2015), the album adventures into the territories of slow wave, in the vain of Andy Stott, with tracks like “Her”, the ambient jungle of “S.D.Y.F.” made with Rezzett-!, and the sodden conclusion of “Tenkyuu”, produced with 2814’s Hong Kong Express.

 

Beyond that (I might use the latin word “ultra”), this intimacy capsule reveals an updated and personal example of what british musicians had been doing always, from swing era to the digital reigns of electronics. That is a syncretic ability of choosing from anywhere to appropriate common patrons and transform them into something new, to be marked as indelible work from perfidious Albion.

Do we have to believe in coincidences?

“Killer Road”, “Paranormale Aktyvität”, and “Dream of Exile” point out Nico

This rhetorical question comes along nicely with three records. One is definitively new, in fact, it’s been released today worldwide by Soundwalk Collective & Jesse Paris Smith, daughter of featured Patti Smith’ voice in a spoken word album called “Killer Road”. The next is “Paranormale Aktyvität”, by ZWISCHENWELT (it means in-between). Having only been made available for lucky ones on a limited run of CDs by the time of its original release, it had been taken five years to be a shelved brand new LP at last. Finally, there is a 35 years old copy of “Drama of Exile”, the next-to-last album from a german blonde who was a model, an actress for Fellini, a Factory beauty and Andy Warhol’s muse for a while, before giving her spectral and icy voice to some of The Velvet Underground’s fine songs: Nico (Christa Päffgen). She is the highest common denominator on these three sleeves in a row.

 

Coincidences-2-Nico

 

Two of them are connected with Nico in a obvious way. “Drama of Exile” is for being one of her late albums. While “Killer Road” is a tribute album to the deceased artist, who died in 1988, struck by a heart attack while riding a bicycle on her vacation at Balearic island of Ibiza (properly spelled as Eïvissa, in catalan). So, what is “Paranormale Aktyvität” doing in here? Apparently, it isn’t matching at all. It seems to appear out of nowhere, but fans of obscurity know why it is a pick to fit. By the way, it is in central position and relates to those on both sides.

 

Released originally in 2011 by Aphex Twin‘s imprint Rephlex, “Paranormale Aktyvität” has been reissued for the first time on vinyl thru dutch imprint  Clone‘s Aqualung series. It is one of several projects related to Detroit techno veteran Gerald Donald, also known as Heinrich Mueller (impersonation used as member of Drexciya) and the only recording credited to ZWISCHENWELT. This was a collaboration he run with female producers and DJs like NYC based Susana Correira, Penélope Martín from Granada (Spain), and Beta Evers, born Brigitte Enzler in Ausburg, Germany, versed in new wave and experimental electronics from the late 70’s and early 80’s. The result was cold minimal wave with female vocals in post-punk/electro obscurity. It sounded like an updted Nico’s temptative album. At least, a straight inspiration from it, 20 years later.

Drama of Exile” had a troubled recording and release history, involving from the steal of an unfinished original master to an inappropriate use of it, that caused legal battles and re-recordings… Nico was in situation of impasse after being dropped from Island Records, living a self-imposed exile in Paris, writting new poems and songs that she was adding to the shows she had sporadically, here and there, only to supply her heavy addiction. Nico recorded “Drama of Exile” to give her poetry another chance, a more precise and propulsive sound to the existentialist depth of her verses. She qualified her previous albums as “boring”. In a contradictory decision, she left longtime collaborator John Cale but, at the same time, considering herself as genuine part of one of the most influential bands in rock ’n’ roll history, The Velvet Underground, she hired a different producer (Corsican bass player Jean-Marc Philippe Quilichini) and others musicians. Among them there were Ian Dury & The Blockheads’ sax player Davey Payne and keyboard and synthesizer wizard Andy Clark (Billy Nelson’s Be-Bop-Deluxe), who had contributed on David Bowie’s “Scary Monsters (And Super Creeps)“, album released the previous year.

 

Nico descended to a dark reign of her own, embracing new wave with hints of post-punk, trends and styles that she had rejected ever since she took the harmonium as her signature  instrument, a complement for that personal, introspective and severe guttural voice. But she was lucky. “Dream of Exile” was the most successful album of her career. Lucky? Well, she began to pace that road, a stony way to ride under the heat of the sun.

 

Away from comparisons, “Killer Road” makes the same exercise of exploration that did “Paranormale Aktyvität” 5 years ago, each one on their proper expression. The latter score slow moving melodies underneath vast metal structures looking for an exhaustion, a final drowning. While Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) works with Jessie Paris Smith to create a tonal ambience, made of different drips, all reminiscent of what a sunny mediterranian afternoon sounds like, from chirping crickets and honeybees flying around to the waves’ rumours of the sea in the distance. An attempt to recreate what Nico listened those minuts before to her irremediable fatal fall. It’s tense and hypnotic like thick dust in suspension, avoiding heat from the ground, A sonic backdrop that flows behind Patti Smith’s distinctive voice, reciting verses mostly coming from albums such as “Desertshore” and “Dream of Exile”.