:papercutz – Lylac (Apegenine)

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papercutz-lylac

:papercutz was once an individual project by idm proponent Bruno Pinto started after finishing a computer science degree. Schooled in youth on piano and deepening compositional knowledge, and technical studio recording through the Oxygen rock/electronic project with friend Nuno Maciel. :papercutz demo album Articulated forms, Pinto describes: “presented through the point of view of an observer, the life of one individual on a urban cosmopolitan center that lives of articulated pieces and forms and from which it depends to function”. A following ep, Nightmare at the playground, released on netlabel Testtube featuring tracks from the demo.

Background leads the path to the present, which is as much explanatory as it is obvious, but the point was to bring you to the difference in that conceptually Lylac differs from previous releases as it concentrates on the question of inner being, on notions of emotion and intuition in difference to purely rational examination. Examination of this clip of Ultravioleta reveals a simple symbol play of the conflict between states of being in quite a humorous manner although some rationalists may claim it to be merely childish.

In that Lylac concentrates on simple melodic form, (Miguel finding on Piano, vocals, melodica, fx, Melissa Veras as lead vocalist displaying dreamlike lyric form, Francisco Bernardo on acoustic guitar, Xylophone and synth), is deceptive a statement in that the seeming clarity and simplicity of the form hides the depth of knowledge. It is easier to distill complex ideas into simplicity to convey and communicate to a greater audience which belies the paradox of the pop sphere, that complexity may be transferred but it still requires an active listener. It is simpler as well as it aims at dreamlike nature, a lightness devoid of the complexities of the entanglements of darker worlds, which is often the complaint against the inclination as it is seen as a form of escapism yet also highly regarded as it allows this very space for the listener.

Beyond these questions which seem central to the concept of the album, the question of form is easier to approach. Layla is quite an accomplished form, it’s balance between acoustic and electronic approaches is seamless and invisible, vocal presence is foregrounded and yet not dominant, clarity of intonation of the piano, xylophone and melodicia display the technical achievements. Lovers of glitch electronicia, acoustic jazz fusion and classical ambience will be amply rewarded by the sophisticated simplicity of this album.

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