domingo, 24 de noviembre de 2013

SSPS - Highly Sensitive Safeguards Secure (Obsolete Units,2011)



Ya llevaba unos cuantos posts mencionando la obra de Jon Nicholson como SPSS, cuyo debut en solitario se titula "Highly Sensitive Safeguards Secure". Miembro de Excepter (con el aka de Porkchop dentro de la formación) y con un maxi editado en LIES con un edit del tema "Bigote" (macarrismo salsa surrealista), en este debut en solitario encuentra un perfecto universo de recreación cósmica y progresiva que parece encontrar diferentes puntos de apoyo en las puntadas rítmicas para ir sobreviviendo a la inopia inexpresiva, conectando con L.I.E.S, M. Geddes Gengras como Personable y tantos otros nombres que aún en aquella temporada empezábamos a conocer y que ahora muestra buena parte de su potencial en trabajos como los recientes de Willie Burns como Black Deer por citar un ejemplo. Al repasar las ocho largas composiciones que ocupan más de una hora , encontramos muchas claves embrionarias a futuros haciendo de "Highly Sensitive Safeguards Secure" uno de los tratados que anticipaba claves posteriores de cómo iba a ser reutilizado los elementos musicales pasados uniendo a Kraftwerk con Juan Atkins (por ejemplo). Me quedo con la descripción de foxy digitalis en aquellos días:

I was thinking about a friend who recently moved from Chicago who once described what she wanted during a recording session as “head shaking, not ass shaking.” The debut solo release from Excepter’s Jon Nicholson can do both, offering a stunning mix of experimental, progressive synth and dance music, always with an eye on the groove.

Nicholson covers a lot of territory here. “From Terminal To Infinity” is driving dance music, with driving, beautiful textures (including from the tape itself). The pulse enters late and ramps up the intensity. Eventually we hear Kraftwerk electro-motorik, industrial beating, great shimmering synthscapes, and some heavily delayed vocals, all subsumed in an accessible package. “Miles Ahead” is more punky and no-wave, tense and dissonant with shouted vocal slicings before breaking into a hard-driving double-time freakout. This is masterful programming. The B-side is darker and sparser in general—“Pleasure Center” is smooth and intriguing, Kosmiche and handclaps. “End of Times” has a cool, heavily bassed and darkly trancelike feel.

These tracks are epic and truly danceable, unfurling over several minutes and locking into deep grooves even as they’re constantly changing. Nicholson’s technical and aesthetic superiority is evident at all turns. Put this on at a party and watch people go crazy, or listen at home and marvel at his wizardry. Definitely looking forward to more of this at some point.




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