Monday, September 19, 2016
Catching up on the last summer promos today we're taking a closer look on Hans Tammen's latest album "Deus Ex Machina" today which was released via Clang in the first half of June. Subtitled "Endangered Guitar Live" it's pretty obvious what this album is dealing with - a nineteen track take on the artists work with the hybrid instrument, an amalgamation of live guitar and a computer running the Max / MSP software, documenting his approach to the well-complex and chaotic function of this extrordinary instrument in the years 2004 and 2011. The results of this can be fascinatingly clean and sci-fi sounding whilst being infused by a little bit of Post-PostRock in tunes like "Transaxle" or "Delusional Parasitosis" whilst bits like the "Planetary Gear Train (Euclidean I)" or "Attack Study" provide a little more Rock'n'Roll-feel in terms of energy, but - due to the nature of the instrument - are taking these towards entirely new levels of abstraction, naturally. The "Combustion Chamber" even provides absolute Vantablack darkness and is meant to creep the hell out of ppl suffering from depression and / or mental issues for a reason. In "Sun-And-Planet-Motion" Hans Tammen even explores the abstract art of single note picking on the Endangered Guitar whilst the subsequent "Epicyclic Train (Euclidean II)" as well as the "Jonval Turbine (Euclidean III)" unveal the heavier, slightly ultraviolent side of the instrument. Furthermore the "Interlude In Copenhagen" evokes memories of uncontrolled modular synthesis, "Deinoccus Radiodurans" brings in more bass heavy, yet glitchy low frequency despair for those who can handle the most lightless hours of the night before "The Interlude At Ramapo's" finally brings in a little lighter, playful elements into the overall sound of "Deus Ex Machina" which defo is one album piece that'll be more appreciated by those digging true sonic experimentalisms in all their different variations.