Genre: Ambient / Idm
Track Listing:
01 Lactoz Pill
02 Liminal
03 P
04 Evice / Revengine
05 Accident
06 Stramir
07 Kido/Pause
08 Substeel Animal
09 Limbes / Coton-Poudre
10 Videogamma
11 Trembledoux / Varia P
12 Sirenavutma
The work from a man is the eternal variation of a same thematic Borges said. An idea that gets reflected in the mirror of the infinite in which the self looks into, it’s the same question asked from different syntax constructions, basically finding the same response almost like in the play from the same song with different chords, different instruments and different musicians, cutting its parts and pasting them in different sequentiality or taking parts away and leaving silences in between. In that sense, art is a repetition, a relentless reconstruction of the universe around and within the self, limited to his inner contents and perception. Music is recycling.
Of course there is some recycling that is better than others. And this is not a matter of simple knowledge, or rational understanding, perhaps it has more to do with sensibility and perception actually. A work like “AvutmA” from the French band Nebulo kinda gives me this feeling, Avutma is basically a reconstruction in the form of musical conformations, using IDM stylistics and re-using divergent electronica subgenres to construct its own vision, its own idea or manifestation on the Universe. There is nothing new, yet, something totally fresh.
The work is settled into minimal melancholic ambient with often surreal landscapes and curious sacral reflections, somehow mystic and spiritually questing at times. Above all, strongly cinematic music, intimate and reflexive; A must for the remnants from the day. exquisite. Constructed with delicate ambient atmospheres that mostly consolidate the dominant role from the work, leaving few space for rhythmic passages and these found within that serve only as an establishment of the sensations transmitted. Calmed and quiet the music fills the listener space with its peaceful reflections slowly, not by hectic or chaotic transitions but rather meditative like momentums and subtle approximations, leaving all to the listener’s mind. At times there is a classical tone into it, organic and sensitive, subtly poetic but anchored in rational constructions.
Spiritual nevertheless, highly modern but not abstract, more earthly and vivid, compensated in observation. When you experience “AvutmA” you can find eventually that this is something similar to something you have heard before but you’re unsure on what is it, contains elements that can evocate past experiences, not only from music, but also your own life and experience, some portion of childlike simplicity or adulthood difficulty. I find particularly hard to dissect “Avutma” songs, as they are some kind of uncanny life forms with rather interesting conformation on their own, not needing to be explained through consequently interpretation. In this sense the work directly appeals to the subjective order from the listener and serves no simple labour as entertainment, more like a conversation, or an array of diverse anecdotes narrated in poetic tone and adorned with the magic simplicity of its development. “AvutmA” is a work about life and mainly appeals to it, sonically moving the listener with its aural effects.
There is also another interesting factor on the “AvutmA” experience and it constitutes is rarity, perhaps as life itself with the often recurrent possibility of unexpected change, turn of the circumstances and events, there is no proper call for equilibrium, order or control, as all these are somehow determined to reform, defying even logic or reason. That happens whenever you listen to this work, all of sudden something happens and the manifested evocation throws you somewhere else, even the vibration changes, the rhythm disappears or subsequently comes as storm.
The more mechanical aspect from Nebulo “AvutmA” shows us a diverse experimentation with electronica subgenres. Portions of glitch, finest organic ambient, minimal breakcore and downtempo condense the core of the work where surprises are the common denominator that gives “AvutmA” its special touch and particular secret, that only the listener can intuitively find. The general attempt to avoid mechanical frenzy and robotic enthusiasm marks another independent incidence not only for the aural experience but as divergence from the Hymen label often enthusiastic for more works more based on rhythm, or at least with a rhythm more centred on muscles and less on brains. This is the opposite medicine, perhaps we all should try it more often.
