Смерть – Atomic Cafe
Смерть is an exceptional fourth-world ambient producer from Yuc, Mexico. It’s bizzare to imagine this is the same artist who released and advertised the abysmal Chernobyl, while simultaneously sitting on his masterpiece, Atomic Café. Throughout its genially fleshed out run-time, Смерть explores the domains of lo-fi suburbia with neo-folk, experimental jazz and charismatic synthetics. The album strikes the right balance of childlike wonder and masterful execution.
Among the highs are White Crow and like-minded songs that consistently bounce between ideas and joyfully progress. Daiichi Dacha stunningly utilises clamour to a convivial effect, yet its true brilliance lies within the abstract folk and abrasive jazz elements. Homelessness Blues 1 consistently hypnotises as it majestically intertwines avant-garde, as does the orderly-demented predecessor Apocalpyse in Aleppo. Sailing Ways is majestically wavy and extravagantly well-paced, as is the exceptionally moody Oooaaa. Picking a favourite is a challenge. Nevertheless, there are a few low points on the album; rather standard for an instrumental collage. The album certainly would have worked better at 2/3rds the length. As the album progresses, it loses steam, yet there are certainly interesting ideas right till the end, such as the monolithic Indigimenta and the morose Outlier.
One could easily assume at face value the album lacks refinement, due to the poor recording equipment and chaotic placement of instrumentations. Far from the truth, however; as Atomic Café is exceptionally well structured and pleasantly harmonically layered. Much of the album borrows from collage artists, such as The Books, though it masterfully cultivates a unique sound of its own with lush acoustics and reverent layering. To think an what such an artist could achieve with high production values is exhilarating, but for now he is by no means necessarily restricted.
Great
Listen to it here:
Смерть – Atomic Cafe
