This brief EP from Larsen contains four new tracks from their upcomingalbum, two which have been remixed by other artists, and two whichappear in nascent form, and will be subject to additional mixing byLustmord before they appear on the album proper. By its very nature,it's a pretty superfluous stopgap, and doesn't share the engrossing,complex moods of Larsen's full-length albums.
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There are a few moments, however, on HMKE that are veryinteresting, and seem to indicate a slightly new trajectory for Larsen,as the group moves away from the crisp virtuosic instrumental interplayof previous efforts, into rather more nebulous territories. Instead ofthe usual guitars, drums, keyboards and digital elements each playingtheir own distinct role in the moody chamber rock, tracks like "M" and"K" seem purposely to form a muddy admixture, an undifferentiatedtangle of sound that, at times, all but buries its constituent layersin sheets of reverb and electronic drone. Although Larsen continue thestrategy of naming tracks after single letters of the Latin alphabet,the tracks here don't share the same sense of crystalline Goblin-esquegroup dynamics of Play, instead aiming for the grandiose, droning splendor of groups like Godspeed or Kinski.
The choice of remixers seems to confirm this new emphasis onelectronic drone textures. Deathprod, the Norwegian electronic artistwho works wonders both with his own project and as part of Supersilent,contributes a three-minute reworking of "H" which even furtherobfuscates each player's identity into a thick, reverberating funnel oforchestral noise. Origami Galaktika's extended remix is unique forthe way it isolates Julia Kent's lovely cello playing, placing itadrift amidst a whirlpool of circulating symphonics. However, it goeson for far too long with far too little development, which is just whatI though about OG after seeing them open up for The Legendary Pink Dotsa few years ago. All things considered, this EP bodes well for Larsen'sforthcoming album.
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