RUBEN D'HERS "Everything is at Rest" (2004)
Topics
1. Lower portions
2. Moths
3. Low Cloud
4. The Vigil and the Pearl
5. Silky peaking
6. First inexpressive Handbook
7. Lunch
8. My Broken Arm
9. The True God
10. Three Things I Incessant
11. Incessant II
Three Things 12. Everything is at rest
13. Anna and
Palmas
adventurer Caracas RUBEN D'HERS musician plays one of the boldest creative forces of the moment in South American experimental rock. Besides his work in the KRE group hallucination, it also has much to say as a soloist. His first solo album is "Everything is at rest," a musical story seriously committed to minimalism, electronic ambience, post-rock and musique concrete. The intensive handling of the tapes operate more as an instrument than as a mere technological resource. The series of mental images motivated by the repertoire of this album refers to landscape unreal and ethereal atmosphere full of mystery, magic mist and inscrutable. All this in the space of an hour and a half minute.
'Lots Low' begins with armed gloomy environments under a halo unreal and distant where random layers dissonant scales merge into a concrete effluvium. 'The Moth' is, however, a tendency to worship the images candidly referred to by the lonely guitar chords, the ones that serve to guide the development of sound layers that are added and hiding on the beach where waves . 'Cloud Low' has a darker trend definitely framed low (not absorbed by) the footprint of the chamber-rock or RIO in its most recalcitrant reconstruction. The disturbing series of violin pieces provides a constant multiple bizarre counter to the inconsistent appearance of the guitar, the same as those which emerge and disappear mischievous ghosts in an abandoned mansion and decadent. Then comes a breeze oppressive as if he had opened the window to a world even more frightening: this is more a musical landscape that music in the usual sense. 'The Vigil and the Pearl' is a tribute to the dreamscapes of post-rock at its most languid prototype: the effects ("natural" and artificial) and guitar chords presents a wonderful portrait of melancholy contemplation in a fall, while 'Desens Silky' continues to explore this vein with built-in breath of electronic minimalism, for anything outside the influence of more spatially dreamlike aspect of the first wave of krautrock (eg, CLUSTER, KLAUS SCHULZE). Definitely, with this ethereal acoustic guitar strums, "Desens Silky" is a pretty hot number in the middle of this context. Another issue that further appeal to similar environments is the eighth, 'My Arm Off', but halfway it will fly by most disturbing sound nuances, such as creating an exaltation of the mind locked in her own spiritual cubicle. 'First Manual of the inexpressible' is essentially a mini-catalog of effects: pure deconstruction of the usual ways, as if it were a tribute to the multi-art movement Fluxus. 'Lunch' follows the same path but points to the signaling of a specific rhythmic cadence, armed with what appear to be recycled sound effects that vocal sounds such as wheezing, takeovers, jaw movements ... With his rough guitar strumming slow its heartbreaking melancholy atmospheres expressed by the orchestration of violins, 'The True God' leads us more directly to sponsorship of Sigur Ros. The pair of tracks 'Three Things Incessant' offers two separate collages of ideas that will fluctuate and succeeding under a minimum wrapping of layers held in the air as the same sky that provides the things that pass and pass on the perpetual circle of life. The trend away from the sound production gives a strange dream of the issue, even in the most bizarre ideas. And indeed that is in good doses, like the surreal lament violin that concludes the second part of this duo. The title track is largely a continuation of the recurring theme of the leaflet above, but comes adorned by humming in falsetto (very similar to the vocal of Jónsi Birgisson, Sigur Ros). These allusions to post-rock used to, once again, enshrine the following piece, 'Anna and the Palms', the same that closes the disc. In three-quarter time, the guitar pieces, layered falsetto humming sound are far from being a mystery as to the sources of inspiration
"Everything is at Rest" is a very special album, ready to be enjoyed with a particular provision and to be enjoyed with new mindsets that the listener must be arming tentatively as it flowed to the repertoire. This is a varied and equally consistent, despite the cluster of influences, also a manifesto of creative originality. RUBEN D'HERS is a true visionary of contemporary music, and I really believe that his legacy this is valuable enough to assess and disseminate it as it deserves. This album can be downloaded from the same website of the musician: to visit the link http://www.dhersmuzik.com/download.php
César Inca Mendoza
Topics
1. Lower portions
2. Moths
3. Low Cloud
4. The Vigil and the Pearl
5. Silky peaking
6. First inexpressive Handbook
7. Lunch
8. My Broken Arm
9. The True God
10. Three Things I Incessant
11. Incessant II
Three Things 12. Everything is at rest
13. Anna and
Palmas
adventurer Caracas RUBEN D'HERS musician plays one of the boldest creative forces of the moment in South American experimental rock. Besides his work in the KRE group hallucination, it also has much to say as a soloist. His first solo album is "Everything is at rest," a musical story seriously committed to minimalism, electronic ambience, post-rock and musique concrete. The intensive handling of the tapes operate more as an instrument than as a mere technological resource. The series of mental images motivated by the repertoire of this album refers to landscape unreal and ethereal atmosphere full of mystery, magic mist and inscrutable. All this in the space of an hour and a half minute.
'Lots Low' begins with armed gloomy environments under a halo unreal and distant where random layers dissonant scales merge into a concrete effluvium. 'The Moth' is, however, a tendency to worship the images candidly referred to by the lonely guitar chords, the ones that serve to guide the development of sound layers that are added and hiding on the beach where waves . 'Cloud Low' has a darker trend definitely framed low (not absorbed by) the footprint of the chamber-rock or RIO in its most recalcitrant reconstruction. The disturbing series of violin pieces provides a constant multiple bizarre counter to the inconsistent appearance of the guitar, the same as those which emerge and disappear mischievous ghosts in an abandoned mansion and decadent. Then comes a breeze oppressive as if he had opened the window to a world even more frightening: this is more a musical landscape that music in the usual sense. 'The Vigil and the Pearl' is a tribute to the dreamscapes of post-rock at its most languid prototype: the effects ("natural" and artificial) and guitar chords presents a wonderful portrait of melancholy contemplation in a fall, while 'Desens Silky' continues to explore this vein with built-in breath of electronic minimalism, for anything outside the influence of more spatially dreamlike aspect of the first wave of krautrock (eg, CLUSTER, KLAUS SCHULZE). Definitely, with this ethereal acoustic guitar strums, "Desens Silky" is a pretty hot number in the middle of this context. Another issue that further appeal to similar environments is the eighth, 'My Arm Off', but halfway it will fly by most disturbing sound nuances, such as creating an exaltation of the mind locked in her own spiritual cubicle. 'First Manual of the inexpressible' is essentially a mini-catalog of effects: pure deconstruction of the usual ways, as if it were a tribute to the multi-art movement Fluxus. 'Lunch' follows the same path but points to the signaling of a specific rhythmic cadence, armed with what appear to be recycled sound effects that vocal sounds such as wheezing, takeovers, jaw movements ... With his rough guitar strumming slow its heartbreaking melancholy atmospheres expressed by the orchestration of violins, 'The True God' leads us more directly to sponsorship of Sigur Ros. The pair of tracks 'Three Things Incessant' offers two separate collages of ideas that will fluctuate and succeeding under a minimum wrapping of layers held in the air as the same sky that provides the things that pass and pass on the perpetual circle of life. The trend away from the sound production gives a strange dream of the issue, even in the most bizarre ideas. And indeed that is in good doses, like the surreal lament violin that concludes the second part of this duo. The title track is largely a continuation of the recurring theme of the leaflet above, but comes adorned by humming in falsetto (very similar to the vocal of Jónsi Birgisson, Sigur Ros). These allusions to post-rock used to, once again, enshrine the following piece, 'Anna and the Palms', the same that closes the disc. In three-quarter time, the guitar pieces, layered falsetto humming sound are far from being a mystery as to the sources of inspiration
"Everything is at Rest" is a very special album, ready to be enjoyed with a particular provision and to be enjoyed with new mindsets that the listener must be arming tentatively as it flowed to the repertoire. This is a varied and equally consistent, despite the cluster of influences, also a manifesto of creative originality. RUBEN D'HERS is a true visionary of contemporary music, and I really believe that his legacy this is valuable enough to assess and disseminate it as it deserves. This album can be downloaded from the same website of the musician: to visit the link http://www.dhersmuzik.com/download.php
César Inca Mendoza
