Slept is a collection of works from Japanese producer Kiyoshi Ono originally recorded in 2001 and 2002. Kiyo has since gone on to release albums on Schematic and Phaseworks as well as appear on compilations by Merck and Saag Records, but these recordings represent his more formative works. This information helps greatly in assessing the album, as it does feel much more like a collection of experiments than a considered, focused album. It is available only as a digital download release, via iTunes and the like, and this really is a sensible format for the album.
The pieces have a heavy reliance on Max/MSP and Reaktor and fit into the mould of glitchy IDM fairly firmly. There are some fine textures created, as can be expected, and flitting rhythms cut into a mash of blops and ticks. ‘Daze’ turns its rhythms into watery squelches which a five note organ riff rides before fairground music swells in the background. ‘Rainymusk’ is a glitched dub rhythm removed of its sonic boom set over a warm drone. ‘REM365’ sets a Casiotone synth improvisation over skittering hi-hats and gentle rhythmic pulses to create a mood of quiet beauty. ‘Harry’ is one of the few moments where the rhythm is allowed to breathe and its four-to-the-floor kick feels revelatory in the overall context.
While all the elements are good, what the music is lacking is a sense of real focus. The processing is not so pushed that the sounds are otherworldly and attention grabbing (though that thought must be filtered through the fact that I’m listening to this in 2008, not 2002 – a lot of DSP water has passed under the bridge in that time and our ears have become suitably adjusted). The rhythms, likewise, are manipulated to the point of losing their groove and movement, without being jaw dropping in their conception. Structurally, the tracks are fairly flat, following single ideas for a few minutes without any real dynamic or, conversely, none of the minimal epicness of drone which develops into the mesmerising. It’s a case of not quite measuring up to the sum of its parts.
There is much to like in this release and it certainly isn’t a bad album at all. But in the midst of so much like-minded music, which has now developed a reasonably extensive history as well, it doesn’t quite have what is needed for it to stand out from the crowd.
Adrian Elmer
