Two quite great releases from Swedish label Kalligrammofon. I’ve not previously heard of Tsukimono, the artist name for one Johan Gustavsson Whinter, but he has been highly prolific with no less than 23 albums, singles, CD-Rs and netlabel releases since 2003. His experience is obvious from the opening strains of ‘Oh Cannibal’ on the Heart Attack Money album. An achingly beautiful piano work, with slowly deployed chords over a gently processed, woozy two note riff. This is followed by the album’s standout track, ‘Gloomy Sunday’ which builds layers of slowly looping guitar notes and tape hiss, a double bass sample and then tops it with a lilting Billie Holiday vocal snatch. 8 minutes of understated wonder.
Across the album, Tsukimono explores minimal, glitchy moods made using a variety of sound sources, from pure electronics to field recordings to degraded samples, sometimes dreamily as in ‘I’ve Got To Go’, at others with more menace, though no less beauty or laid back pace (‘I Am Going’). ‘Get Gone’ layers distortion and bitcrushing over calm piano in a manner reminiscent of Ben Frost. ‘Hands Over A Key’ does likewise, though in a more lo-fi manner. I assume that Whinter’s first choice of instrument is a piano, as this is at the core of most of the tracks, but the sonic variety is wide, the processing and layering thoughtful and continually intriguing. It is a truly beautiful album.
The Gotta Sing, Gotta Dance 7″ single is actually a rerelease of the last release on the Lady Godiva Operations before its owner, Gustav Rosengren, closed it down and started up Kalligrammofon. It was originally released in 2005 or 2008 (different sources give conflicting dates) and gives an indication of Tsukimono’s development. Side A, ‘Gotta Sing’ is a distorted guitar improvisation that sits in the noise spectrum without ever completely succumbing to a sense of nihilism. ‘Gotta Dance’ is a much gentler affair, constructed out of small electronic bleeps and blips initially, with backwards guitar drones building as the piece progresses. The two sides are a good listen, but don’t give the same sense of an artist crafting their own voice as the newer album does. So while both releases are worthwhile, I’d recommend heading straight for the full length piece.
Adrian Elmer
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