blog.Crónica

“Des Ende des Vinyls” winkte 1999 am Horizont, als Pure seinen Kommentar dazu in der Form zweier intensiver Drones aud fer Grundlage von Auslaufrillen aud Mego herausbrachte, als 3”-CD. Nun, es kam anders. Das schmucke Format des Originals ist mausetot (begleitender Reissue: als Free Download bei Crónica); dessen großem Bruder, in del jetzt die Fortsetzung erscheint, ist das Lachen vergangen. Die Weggefährten und Freunde, die Pure zur Reinterpretation und mithin Bestandsaufnahme 2013 geladen hat, gehen an ihre so frei gestellte Aufgabe ganz unterschiedlich heran: Einbeziehung weiterer obsoleter Medien (@c), flüsternd-klagender Auslaufrillenchor (rashad becker), oder Kehraus in Presswerk (Cindytalk) — oder auch einfach ein nonchalant-knackiger Sequenztwist-Kopfnicker (herausragend: Goner) oder gar eine elektro-akustische Komposition, die sich Streicher, Harmonikas, Vokalisationen aller Art und was so auf dem Schreibtisch rumliegt in der elektronischen Pfanne brät, ohne sich an die Leine eines Rezepts binden zu lassen (Arturas Bumšteinas). Viele greifen die Klangwelt des Originals auf, mit Feedback und Delays, Brummen und Sirren, und lassen ihren Stücken Zeit, Stimmung und Wirkung zu entfalten. Die fällt insgesamt eher düster und kühl aus, was ein wenig aus der Zeit gefallen wirkt — von Thema nicht unbedingt erzwungen. Alle Zehn präsentieren ihren Sound jedoch lecker, und an Pitas angehibbelt strömenden Dronebeitrag werde ich mir im Winter die Pfoten wärmen. multipara

This fresh-out record features ten reinterpretations of Pure’s the.end.of.vinyl EP, one of the first records to establish the glitch sound of the label Mego. “Remixers” include Mego cofounder Pita, and also a@, Cindytalk, and Arturas Bumsteinas, among others. Of course, Pure was wrong back then, hence the revised title and these reinterpretations that provide wide-ranging “updates”. After all, the glitch era is behind us now.

via Monsieur Délire

Strangely ironic that this latest album by Pure is titled ‘No End of Vinyl’, yet is released on Compact Disc; however, I do love the embossed triple-folded slipcase that feels like the well-loved grooves of an actual record, which is a nice touch.

As the album states, this is a collection of collaborative works, where Pure has entertained input from various other artists such as Cindytalk, JSX and Goner, to name a few. Some 14 years after ‘The.End.Of.Vinyl.’ released by the mighty Mego label, Pure is paying homage to the label and its interpretation of what they felt the future held for us musically, with tracks that were to be conceived as a set of discs that would fix onto the wax itself.

Opening up with a resonating hum, bursts of sound steadily punch their way into prominence, folding into a wash of industrial machine crunches and noisy ambience. Christian De Babylon remixes ‘The End of Vinyl’ next, with an altogether more electronically charged, almost analogue chopped up programming feast of stuttered beats, guttural IDM and airy pads. Side by side the opposing forces of these first two tracks work well together and provide variation.

The thumping frenetic beat of JSX assists in providing a necessary tension, whilst Cindytalk follow with blistering, yet tempered noise; the former outshining the latter but once again giving the listener a more open installation to view aurally and epitomising what makes this album so listenable as a whole.

Broken up rave, torn apart Dark Ambient, staggered electronica and shattered noises blended in a pot of Industrial glue, ‘No End of Vinyl’ crosses genres whilst still remaining to paint a picture of sounds dripped in black tar. Admittedly there will be parts of this release that won’t sit well with some people, but those who have a wider appreciation of the Industrial umbrella with be thoroughly satiated as the throbbing soundtrack of the collective input of Current 909 and Pure fades into the distance.

9/10

via Black Audio