Sasu Ripatti serves a pair of contrasting pummellings - in off-kiltering machine mode as Vladislav Delay with the Espoo EP on Raster-Noton & in a suppler, more slippery guise as the Moritz von Oswald Trio's timeshuffler on Fetch (Honest Jon's)...
Blurbs (one more illuminating than the other, but anyway): "Vladislav Delay‘s EP 'Espoo' features two new conceptual, rhythm-intense tracks. Whereas the groove of the opener 'Olari' derives from a sound loop which is manipulated by filters and echoes and finally brings forth the intensifying beat, the reverse is done with 'Kolari' on the b-side. starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent vacation-like melody, close to terry riley‘s minimalistic concepts. both tracks share a linear increase in density, and because of their break with the common four-four time, they create a certain folkloric atmosphere."
"The Moritz Von Oswald Trio operates at the bleeding edges where musical lineages collide. Feeling for the shared heartbeat that pulses through dub, techno and jazz, it seeks out points of contact before exploding them outward into hypnotic explorations of rhythm, texture and tone...At once umbilically connected to and completely distinct from all the musics that they draw from, the Trio's subliminal musings on the connections between musical forms are expressed by Fetch as a series of beguiling contradictions. Rigid vs. fluid; playful vs. deadly serious; machine vs. human; sensual vs. austere: all of these seemingly opposing forces are allowed to intermingle across four longform tracks, sometimes played off against one another, occasionally brought together in tense unison before springing apart once again."
Blurbs (one more illuminating than the other, but anyway): "Vladislav Delay‘s EP 'Espoo' features two new conceptual, rhythm-intense tracks. Whereas the groove of the opener 'Olari' derives from a sound loop which is manipulated by filters and echoes and finally brings forth the intensifying beat, the reverse is done with 'Kolari' on the b-side. starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent vacation-like melody, close to terry riley‘s minimalistic concepts. both tracks share a linear increase in density, and because of their break with the common four-four time, they create a certain folkloric atmosphere."
"The Moritz Von Oswald Trio operates at the bleeding edges where musical lineages collide. Feeling for the shared heartbeat that pulses through dub, techno and jazz, it seeks out points of contact before exploding them outward into hypnotic explorations of rhythm, texture and tone...At once umbilically connected to and completely distinct from all the musics that they draw from, the Trio's subliminal musings on the connections between musical forms are expressed by Fetch as a series of beguiling contradictions. Rigid vs. fluid; playful vs. deadly serious; machine vs. human; sensual vs. austere: all of these seemingly opposing forces are allowed to intermingle across four longform tracks, sometimes played off against one another, occasionally brought together in tense unison before springing apart once again."
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