Still slow at the Scheerling front. Lately I’ve been busy creating workshops, writing, working on a masters, researching, reading, laughing, playing, sleeping, eating, etc. Not to say that I’m not busy with music. I’m still working on a next release with both Naaugauk and Skymme. Also: i’ve bought new instuments which anlways open up a lot of new mucial paths in my head. I’m not sure whether I will form the experiments into a new Scheerling release or whether it will be something completely different.
All the same, last week an unexpected review from Vito Camarretta from Chain DLK came along. Very Grateful!
Let’s dig deeper in sonic world’s underbelly that is often so ‘under’ that some of you could think weird things related to them (occultists, aliens, mad psychiatrists making experiments, ghosts or whatever omitted to get credited as producers…). Fans of the darkest side of drone-driven music and gloomy ambient will be maybe delighted by the listening of “Vertoeven LVI” on side A of this split tape release, filled by Dutch sound artist Bert van Beek aka Scheerling with four acousmatic drones (lasting five minutes each) – mostly driven by effected scorched guitars, but also featuring whisper-like sounds, whooshing noises that got often used by tape art and metallic hits -. The abrasive first track “Schemmer” sets the ground for the hypnotical “Guurn”, where some of the above-listed aural entities have been immersed into a dilated reverberation, which makes them feel like coming from some parallel dimension. The third movement “De Danne” – my favourite one – is a combination of tricks of the first two ones, as both slightly scorched guitars and reverb-puffed bubbles got joined, and precedes the final “Tehoape”, which sounds like a cathartic reprise of the initial “Schemmer”. I read somewhere it got inspired by the translation of some poetry of Dennis Gaens, but it’s a detail that doesn’t help me in explaining nuances I didn’t catch due to the fact I didn’t find anything in English or other languages I understand, so that I can only say it’s an entirely recommendable listening. Likewise absorbing the sound that Thaumaturgist spread over two 10-mins lasting tracks on “Mysteries Van De Droom”: this guy used some briquettes and pellets of acid-house and Berlin techno to develop a seemingly lo-fi sound (more sedated and uplifted on this first part, slightly morbid and psychotic on the second one, landing on those fractured bleeps you can hear when some old Korg drum machine is close to tilting), that could vaguely surmise some industrial techno experiments of the late 80ies.