N(41) - ROTE FUHR [LP|DIGITAL]
N(42) + DIRK SERRIES - KEHR [LP|DIGITAL]
N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. September 2015 marks the release of a new solo record and a collaboration album, N(41) „Rote Fuhr“ and N(42) + Dirk Serries „Kehr“.
„Rote Fuhr“ is special. Musically it finally brings together the more noise orientated approach of „Saarn“ and „Heven“ with the deep droning of records like „Prora“ (empiric records), „Goor“ and „Oie Kirr“ (both: Denovali). Also using white noise in a musically way, like a cold storm breaking loose, whiping away everything around and pushing it into abyssial, dark and glowing drones. With a destroyed arpeggio slicing some parts of „Rote Fuhr“, with a stacking of layers between noise and organ-like drones, all stenched together with micro-melodies to a symphony of brutal beauty.
Coda: this record mainly transports anger. An anger felt during a short tour of N with his labelmates Petrels and Talvihorros during a very dissappointing showcase in front (or better: not really in front) of some really ingnorant people. The next night made Hellmut instantly quit the intended setlist and let the anger run through the amps. And so finally finding a home for some motifs being played live since 2011... In a way they were never played before. ... Hellmut was very angry that evening, but very happy with this result. And just to be sure: this is a live-record. Recorded at Schlegels / Dortmund / Germany by Andreas Brinke as the recording engineer.
In a way, „Kehr“ evolved in a similar surprising way: Dirk Serries and Hellmut Neidhardt were talking about a collaboration since their first tour in 2010, shortly after his contribution to N(5) „Bergen / Skizzen + Notizen“, released on ConSouling Sounds. Indeed they exchanged soundfiles, talked about names, played more gigs together etc., but somehow all attempts to record something together seemed not to fit or did not unfold something new... And then, some evening, not long after Hellmut having recorded some dark and heavy droning pieces and having sent them to Dirk, suddenly a full album popped out on Hellmut's mail account. Their long planned collaboration, realized under complete unplanned, really new conditions: with Hellmut having played all music using the guitar / fx / amps setup and Dirk doing sound-treatments, arrangement and collaging, this is not only a surprisingly 'different' teamwork but also sounds very different from that what they had expected from themselves. „Kehr“ is very raw and powerful, dark and evil, but at the same time deep and full of warm layers of drone; from the assault like starting without any intro to the long runout into nothingness this is a journey in sound they did not think about before...
"[...] The noisy, hazy drones of Kehr come in three distinct parts. Where Serries’ guitar ends and N’s drones and effects pick up is hard to say; this is immersive and effervescent stuff, like I’m drowning in fizzy water. It has some of the rawer qualities of Christian Fennesz’s guitar-laden discography, but the finished timbre and mood is something else. Whereas Fennesz’s music can feel alternatively aspirational or introspective, Kehr feels stark, intense, immediate, like an exposed nerve.
Each of the three pieces is longer than the previous one, with the third track clocking in at an impressive 21:27. In its patient unfolding and cascading, it reminds me of some of Maeror Tri’s more epic 90s material, splitting the difference between guitar noise and something more primal and emotive. The slow, sweet decay of that last act is perfection to my ears, and fans of fuzzy ambience and visceral drones will likely agree. Highly recommended." earinfluxion.com