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Walls

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Apparat

 
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Walls
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Avg: 4.0 (394 ratings)

A former IDM also-ran steps into the spotlight with an honest-to-goodness pop masterpiece.

  • We Say...

    In 2006, Berlin-based producer Sascha Ring's Apparat project received a bump in recognition for Orchestra of Bubbles, his brilliant collaboration with Ellen Allien. Orchestra was an album of lush electronic pop that kept a steady beat with one foot in Allien's home turf, the club world. On his own as Apparat, Ring's approach is more open-ended, moving from the texture-obsessed processing of '90s IDM to glossy ambient washes to pieces that brush against the steely repetition of classical minimalism.

    Ring also has a fondness for dense, glitch-laden arrangements that touch on certain strands of experimental rock from the last decade. Specifically, on the two tracks here that Ring sings himself, "Birds" and "Arcadia," he ably conjures the warped and affecting atmosphere of Kid A-era Radiohead (when singing in his upper register, Ring resembles Thom Yorke), albeit with more focus on rhythm. Compared to their counterparts on two previous Apparat full-lengths, the vocal tracks — four others are voiced by frequent collaborator Raz Ohara — are more developed and far catchier. Both "Hailin from the Edge" and "Holdon" owe something to the slinky R&B side of Prince's oeuvre, but Ring's terrific ear for mixing and sound design — check the way he layers cello and electronics on "Hailin" — brings the aesthetic into a more immersive realm.

    Further evidence of his production prowess comes on the two-part mini suite "Fractales," as he integrates guitar, piano, strings, drum machines, percolating sequenced synths and loads of carefully placed distortion into a positively epic neo-shoegaze confection. With its strong sense of dynamics and wide array of arrangements, Walls works terrifically well as a complete album.

  • They Say...

    Having made a considerable splash with the Ellen Allien collaboration Orchestra of Bubbles, Apparat returned to his own path with Walls, a remarkable album that ranks as his best yet. Beginning with the gentle string and vibes beats of "Not a Number" -- which in its own melancholy way, combined with the title, suddenly sounds like one of the most humanistic songs yet recorded, passionate in its elegant sorrow -- Walls takes a simultaneously familiar and unsettled path. While the continuing impact of disparate strands of music -- the fallout of My Bloody Valentine and its many imitators, the electronic obsessions of Warp, the stadium-ready melancholy of early Radiohead and its own horde of followers -- has resulted in a 21st century computer music of crushed sorrow; on Walls, Apparat transcends the downbeat limitations of the incipient form with astonishing grace. Hearing how what could be a standard filter-house volume build in "Limelight" becomes a fierce trap for a voice barely understandable, or how the post-Jeff Buckley/Thom Yorke woundedly sweet vocal on "Arcadia" actually means something working alongside the busily frenetic beats make the listener regard familiar approaches in a sudden new light. Meantime, "You Don't Know Me," which appears towards the album's conclusion, might actually be the best song on it. While there are a lot of songs that could be described as soundtracking a nonexistent film, this actually feels like it, strings and a handclap beat creating a pitch-perfect atmosphere to the end of a romantic movie. Raz Ohara's various vocal appearances throughout are nice additions but the highlight is "Hold On," where his perfectly in-the-moment R&B style contrasts the squelching bass and nervous but righteous groove to a T.

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