So Paul-Pimmon’s long-awaited “beats” album is finally out. Previous to this release we’ve only heard beats in a handful of Pimmon tracks (on the fabulous “In Conjola Mode” 7” for instance). Admittedly not all these tracks have beats, but it’s still something of a change of pace. The interesting thing is that Pimmon’s signature sound – myriad samples and loops from archival radio tapes and other sources slowed down and digitally processed – is completely comfortable sitting in the perhaps more constrained environment of beats and bar-lines. “no jazz for jokers” loops a chugging percussive guitar riff (maybe?) in an almost Jamaican groove, before what sounds like a sped-up squawking saxophone loop (in a perfectly inappropriate key) is dropped over the top. It’s jaunty and catchy and head-nodding. Track 2 is as distant from that mode as you can get, with long, smooth, drawn-out textures replacing the spiky sounds of the previous track. It’s gorgeous shimmering outer-space stuff, with far more detail than you’d first think. “frosty pink”, which follows, loops and lopes along with all sorts of squelches and burps – one’s reminded of the ‘80s electronic experiments of fellow Sydneysiders Severed Heads, Scattered Order et al. Next, the beautifully titled “rtw: sound of a finished kiss” is a long ambient track once again, recalling Fennesz’s guitar-drenched textures, with a clicking rhythm deep in the mix. This sets the tone for most of the rest of the CD. The final track (“the sacred dance of Mimi Lush”) begins as a melody with back-masked beats, which are gradually drawn into a whirlpool of delays, everything feeding back on itself while a mournful machine bangs away in the background… And, delightfully, just as the crescendo’s reached its peak, it all drops away and the melody restates itself for a final twirl across the ballroom. Essential.
Peter Hollo |
