Nonlin

Steve Hauschildts first release for Ghostly International, Dissolvi, was one of the most beat-heavy full-lengths hes ever made, as well as his most collaborative effort since the breakup of Emeralds. Follow-up Nonlin was developed in several cities while Hauschildt was touring, and its one of his more spontaneous-sounding records, making usage of generative systems and granular synthesis as well as improvisation. Some of the tracks are smooth and starry; the trance-y arpeggios of Subtractive Skies glide through the night air in a manner similar to Barkers Utility, yet this feels a bit more humid. Other tracks end up falling into a wormhole of mutilated beats and spiraling motion. Attractor B starts out tranquil, with serene drifting and comforting pulsations, then gets derailed after a minute, tunneling into IDM-like sequences which rapidly kick and squirm. Nonlin is even more jumbled and glitchy; its diced beats are restless but not overpowering, and the refracted melody ends up pushing its way through, revealing the songs sentimental core. On Reverse Culture Music, Hauschildt is joined by cellist Lia Kohl, whose gentle plucking and bowing mesh seamlessly with the fluidly lapping synths. At the heart of the granular scattering of The Spring in Chartreuse is an unmistakable sense of longing and emotional attachment, not unlike Fenneszs best, glitchiest work. Closing track American Spiral thrashes and slashes, extinguishing any remaining notion that this is another calming, reflective ambient record. While every bit as gorgeous and inspired as Hauschildts other albums, Nonlin sounds a bit more alive due to its unpredictability and looseness. ~ Paul Simpson

10年代の幕開けにおけるアンビエント～ニュー・エイジリヴァイヴァルの中核であったエメラルズのシンセシスト、スティーヴ・ハウシルト。エメラルズ在籍時から良質なソロ作を発表し続け、それは10年代が終わりを告げようとする今でも精力的である。ゴーストリー移籍後2作目が早くも到着。イーノやボーズ・オブ・カナダに通じる夢見心地なアンビエントではじまり、そこに揺蕩っていると違和感なくIDM的ビートが切り込んでくる。チェリストをゲストに迎えたチェンバーな響きのミニマルや暴れる電子音などヴァリエーションがありつつノスタルジックな電子音が全体を包んで統一感を演出している。
intoxicate (C)片切真吾