Auser has been into cinematic (or b-videomatic) electro for more than a decade now, with releases on Viewlexx, Pinkman, Gooiland Electro/Enfant Terrible and more, ranging from atmospheric and hypnotic to tight and grim, but always loaded with a vision of a storyteller. In a Dutch way, for sure. Though Second Sun is, again, an audiovisual trip, that's not the primary concept here – it's probably the purest album-like experience of Robert Auser so far, presenting most of his characteristics and sounds, and also new elements, still, all are coherent and organic parts of Auser's projective language of electronics.
Second Sun starts off with a rather sinister way: a noise and industrial beat driven mood frames a subtle main theme in the background (Silent Spring), then it transforms into the highway arpeggio of the title track, just to find itself soon in the middle of tense electro by the third one. Auser unfolds some new shades here: the melancholic echoes and vocals of new school American industrial wave (Fabric of Time), the voice of cold despair returns throughout the album (Gentrified), it even embraces some vocoder pop in the midtempo electro of Place With No Name.
Auser keeps the distance from techno in an elegant way, yet at some points touches the core of it. Passes through some well-crafted rhythmic noise with Edge of Reason (echoes of Container there) to reach an acidic club climax with the old school electro of Third Place and the ebm-techno of Entangled. Roberto Auser's post-industrial-cyber-beat-soundscapes, in the end, dissolve into three minutes of contemplative electronica: it gives us the time and space, and that's the moment when the Second Sun finally comes.
Buďte první, kdo napíše příspěvek k této položce.