![]() It's the only composition on Rex that doesn't rely on an opaque wall of guitars. The interplay between space, sound and sustain is much more important than the immersion of the drones. ![]() It's the most melodious song so far, with rudimentary but definitely perceptible tone sequences and – now I'm sure – Jantzen's incomprehensible voice in the background, adding a human element to an already shiningly inviting track. The following vignette The Other Hand Is Good is yet again encapsulated in thermal guitar streams. Even the claustrophobia-evoking, bile-resembling staccato siren on the finish line cannot change the overall accessibility of this piece. ![]() The guitar thunderstorm is once again not all too baleful, but inherits enough traces of blithesomeness from Deserter to qualify as a pompous fanfare of contentment. Or is it? It's permeating with the crunchy surroundings, and SN DY P RL RS sure got me fooled. Up next is Twentyfour, a menacing mélange of bit-crushed bass bursts and warbled guitar thickets, but the main attraction is without a doubt the aural mirage of humanoid guitar layers that resemble a male voice. The song closes with a well-known formula, namely increasingly screeching twangs, followed by the impact of thunderous attacks. Are they remnants of a distant Hammond organ or an accordingly tweaked synthesizer? Whatever their origin is, they add an unexpected fragility to the mix that is counteracting against the brutish dominance of the main guitar. The stuttering, pulsating crescendo of the guitar is in the spotlight all the time, literally bedazzling the listener, but at the same time there's brighter sparkles glistening in the fissures of the pulsating guitar. Golden shimmering, overdriven electric guitar layers evoke happiness of the majestic kind, and only occasionally does the slowly changing melody step over into melancholic territories, held and maintained in minor. Let's see how intriguing this album really is.ĭeserter launches the album with a warm glow. Whereas other Drone albums unveil their multiple layers and particles on higher volume levels, the work of S ND Y P RL RS grows in voluminousness and saturation – clear-cut attributes of its Shoegaze roots. If there's one particular Drone album of 2012 where fun and volume level coalesce and depend on each other, it's definitely Rex. Despite quieter moments and carefully layered drones, this is a powerful album that boosts each respective emotion to the maximum and literally blasts away the Ambient-adjusted ears of a whole generation who grew up in the surroundings of stacked synth strata. It oscillates between threatening, intimidating and incisive guitar layers, true, but at the same time, there's a great depth, warmth and even euphoria to be found. Rex isn't about one single capricious mood, though. Released on Umor Rex in August 2012, his particular guitar treatment will be intriguing to fans of suspense movies, lovers of Dark Ambient and, yes yes, even the occasional Rock fan who is willed to soak in the meandering layers. Drone music of the dreamy kind is the breed one encounters most often, so let me stress how refreshing – and intransigent – Jantzen's seven-track debut called Rex is. Think of the early works of Ben Frost, the Dark Ambient crypts of Svarte Greiner, the adamant guitar monotony of Ryonkt or the Punk attitude of Dreissk … and S ND Y P RL RS aka Sunday Parlours, the project of the up and coming Berlin-based Drone producer Malte Cornelius Jantzen who brings back the crunchy-grungy flavor into the subgenre that is otherwise ruled by a mellifluous mellowness in 2012. But seldom is there Drone music with a glaring in-your-face attitude, mediating between acidified piles of guitars and shedloads of Shoegaze schemes. ![]() Then there's the kind where cleverly filtered guitar layers are interwoven that merge perfectly with the synth structures so that listeners of the structuralist school cannot tell them apart anymore. There's Drone music that's created with the help of synthesizers.
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