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Following up two expertly written 12"s that actually played more like mini-albums, comes this sprawling debut LP from Swiss modular overlord Benjamin Kilchhofer. To say artist and label have had a quick ascension to stardom is somewhat of an understatement, with Fact, RA and many other tastemaking websites listing the label and artist in the Best of 2017 lists - but we were there first folks!

A double album across 20 (!) tracks, it perfectly encapsulates Kilchhofer's electro-biotic futurescapes - other world exotica and interplanetary fauna. If Kilchhofer's world is created by pieces of modular equipment - sequencers, filters, CV-control devices etc, then it's surely populated by a hybrid of organic and electronic lifeforms - cyborg birdsong, mutant frog croaks and the hiss of electro-static solar winds permeating through each and every track as Kilchofer navigates the plasma-stream cutting right through the centre of this cybernetic rainforest.

Adjectives and abstraction aside, the album skirts between bedroom electronica, nu-exotica and experimental styles: Don't DJ, RAMZi and label mate Burnt Friendman all spring to mind, as does NY duo The Books; however these are merely vague comparisons: Kilchofer's world exists solely on its own.

Although slightly too expansive and almost difficult to navigate, this simply opens up this epic long player for multiple listens; as if joining a route at different stages up and down river, riding the boat, then jumping off at different docks. The first disc eases us into the terrain, atmospheres and soft undulations, while disc two sees more rhythmic content introduced; signaling a deep immersion in the environment. Once you've reached the end of the record a content feeling of deep resonance with artist and record are reached. I strongly recommend taking psychedelics to this breathtaking 'diary' of work.


STAFF COMMENTS

Matt says: One of my favourite artists and labels of 2017 returns with a nothing short of epic double album, detailing Kilchhofer's rich and evocative sonic world. One for mushroom season make no mistake!

FORMAT INFORMATION

2xLtd LP Info: Double LP with beautifully detailed, hand drawnn inner sleeves by Jake Fried and a detailed insert by Benjamin Kilchhofer.

Soundwalk Collective is a multi-disciplinary audio-visual collective founded by Stephan Crasneanscki, including members Simone Merli and Kamran Sadeghi. The Collective’s approach to composition combines anthropology, ethnography, non- linear narrative, psycho-geography, the observation of nature, and explorations in recording and synthesis. The source material of their works is always linked to specific locations, natural or artificial, and requires long periods of investigative travel and field work.

Their recent projects include a collaboration with Patti Smith and reworking the archive of recordings on Jean-Luc Godard's film set. For the 8th Marionette publication, Soundwalk Collective present 'Death Must Die'. A sound piece that began in 2004 and ended up as a composition for the PS1 radio in NY. For this New release the Collective has revisited the piece in a more musical way.

'Death Must Die' is based on Stephan Crasneanscki’s multiple visits to the sacred Indian city of Varanasi, originally known as Kashi and Banares. Sacred texts maintain that Varanasi isn’t even a city, but rather a lingam of celestial light, the subtle and cosmic form of Lord Shiva which manifested itself as a city for the sake of seekers of liberation. To bathe in the holy Ganga is to be purified of your sins. To die in Varanasi, is to attain liberation and to bring an end to the cycle of rebirth known as transmigration. Determined to capture the elusive reality of this ancient city, Stephan has day by day recorded and re-imagined his understanding of how to perceive the continuously moving stream of the holy Ganga; performing a simple form of sadhana, which request is to be very alert but also to allow your mind to be quiet, making it easier to slip into the streams, and into the current that both the city and the river are offering.

‘Death Must Die' begins before the rising of the sun and reproduces the cycle of a day in Varanasi, going down the river that is believed to be the divinity descended to this Earth in the form of water. She grants us happiness and salvation. The composition attempts to emulate the vibration of Kashi that encourages the kind of interiority that enables a person to get a better perspective on reality than one might have, while constantly being in the current of human life. A vibration dedicated to eliminating the distinction between human and non-human, between alive and dead, between light and dark.



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