Welcome fans (I’m making an assumption there) to some further Moseley Musings. This time they’re on Boris. A Boris who happens to be German but who – you may or may not be glad to know – has nothing to do with tennis.
If techno has to be minimal, then Boris Brejcha does it how it should be. This strain of electronic music can be over simplistic and a little dry to listen to. It can grate and drain rather than being relaxing or pleasurable. Brejcha works with this genre but adds more creative and intriguing complexity and in doing so has formed his own genre (clever sod) termed “high tech minimal”. His tracks sound as though they have been produced in some kind of space station control room with beepy buttons and flashing lights everywhere. Wunderbar!
The 2014 album Feuerfalter released on Harthouse is an absolute masterpiece and it exemplifies his style perfectly. He is also responsible for the label fcking serious with Ann Clue and Deniz Bul. Feuerfalter in particular displays stunning attention to detail. If you really concentrate and count each element layered in each piece you will notice (apparently I am a massive nerd) there are just tonnes of things going on at once (so profound) which are shifted around throughout with fluctuating intensity and energy. It’s satisfyingly mathematical, and new each time you listen.
Puki has an overall buoyant and playful sound but when you listen closely, individual components are clinical and metallic. Clicks, taps and scrapes are built together to create a sophisticated set of rhythms which is fascinating to listen to and constantly changing. On top of this there are futuristic synths and swathes of romantic progression in tone. It’s probably my favourite track on the album.
The Madness is darker and uses skittish, grinding synths and a creepy vocal sample to achieve a completely different atmosphere to that of other tracks. It can justifiably be twinned with Spacecraft To Mars, which has a similar underlay and some synth patterns which are almost identical. It’s an interesting point of comparison.
Tonight: Freak Out more or less does what it says on the tin, and won’t appeal to anyone leaning to the more mellow side of the genre. It’s noticeably louder and more intrusive than other tracks but fitting for the mid way point in the album I suppose. That unnerving manipulated voice crops up again as it does on various occasions throughout the album which lends some continuity and extra character, albeit a little bizarre. (I REALLY hope it’s not just Brejcha’s actual voice.) During Lonely Planet it literally declares “I am from outer space” which is fitting in general. It’s a journey.
This is an engaging, very intricate album and Brejcha is clearly a bit of a genius. As if all that wasn’t enough, when he plays live he wears a big scary mask! In case you like that sort of thing.
He is playing this Saturday at Noisily Festival, UK as a matter of fact.