This solo project of Adam Killing (who also works as Kill Memory Crash) might only have released its second full-length record, but the multifaceted sound of Kolektique is that of an exceptionally well-developed artist. Drawing from a multitude of minimal synth sounds, he utilizes the expertly to create sparse, yet extremely catchy compositions.  While this is all well and good, the subtle production and attention to the smallest of sonic details is where this album especially shines.
The instrumentation that makes up the bulk of this album is nothing too esoteric or unexpected:pulsing analog synths, stiff drum machines, and heavy vocal processing define most of the 10 songs on here.What especially drew me in, however, was the nuanced production on those standard sounds.For example, the simple synth sequence and drum program that drives "Adagio" (featuring guest vocals by Le Sprite) sounds rather by the numbers, but the depth and variation of those individual notes and beats is what makes it sound exceptional.Complex, layered synth notes, a fat, thudding kick drum and the metallic crunch of the snare gives the song a distinct (and wonderful) identity.
On "Magnus," Killing builds from a thumping bass drum that is pummeling at even reasonable volume levels, and the ghostly, haunting synth melodies that underscore the song give it a distinct and captivating feel.For "Forest Floors," it sounds as if he brings in a live bass guitar to underscore the piece, adding additional depth.Echoing synthesizer sweeps cut through consistently with metallic tinged voices appearing.Again, the sequences that drive the piece are structurally rather basic, but the tones that are being produced have a beautifully nuanced and unconventional sound to them.
"Diamonds" features again what sounds like a live bass lead that, when mixed with the healthy application of reverb, reminded me of Floodland era Sisters of Mercy, but with a much more synth pop bent.The piece itself is rather simple, with distant and cold vocals by Killing appearing throughout, but the echoing and reverb results in a heavier and oppressive, yet warm feeling throughout.The record’s conclusion, "S-Gerat," is a bit slower and has Killing working with a looser, less rigid approach to rhythm.The more dissonant elements and the complex melodies that are weaved in and out make for a different sounding, yet no less brilliant sounding song.
Circa Tapes' Kolektique may draw from many well tread electronic and synth-based music grounds, but the secret for its success lies heavily in its production.Adam Killing's subtle treatments and processing is not well lent to being described in terms of specific effects, but he makes even the most mundane bass drum sound a multilayered, physically tangible thump of noise.Beyond just fascinating sounding instrumentation, however, is a series of strong, memorable songs that are laden with catchy melodies and strong rhythms, with everything coming together in a beautiful, yet appropriately icy and robotic piece of music.
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