The latest from Dekorder label head Marc Richter's Black to Comm is a dense collection of multicolored cloudbursts, sizzling heat waves, and deep space pulsations. Running a Farfisa and Casio SK-5 through effects pedals, he sculpts moods rather than melodies, resulting in tracks that hover in the air at the expense of movement.
The album begins with its darkest track, "Negative Volumes." Warped, moaning voices and two alternating bass notes provide its foundation, with subtle keyboard sprinklings and more voices arriving to flesh it out. However, the bulk of these additional sounds are simply more of the same. The piano, trumpet, and violin that later enter the mix only reaffirm what the track has already accomplished and don't develop the idea any further. The track doesn't get more or less spooky; it stagnates. That's a fair description of how the other six pieces affected me as well and is what makes Fractal Hair Geometry such a frustrating experience.
Yet the sounds Richter comes up with are compelling. The body of "Orange Record" has a surprisingly emotional quality to it, like a precious but bittersweet epiphany, but merely adding more layers over the track's core serves a decorative rather than a musical function. "M.B. Memorial Building" is a majestic microtonal exploration that creates dynamic tension that unfortunately is only maintained, neither decreased nor heightened. The album's only obvious beat comes on the track "Leigh Bowery," which uses an unaccented 4/4 rhythm to punctuate the static shimmering sounds coming from the keyboards. It's a nice change, yet it still suffers from the same lack of progression as the others.
These tracks aren't bad by any means, if layered somewhat more thickly than necessary, but the problem is that each pieces shows nothing later on that hasn't already been learned or felt within the first 30 seconds. As an album, this gets old quickly, and to my ear makes these tracks better suited for gallery installations or soundtracks.
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