|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FUR 097LP
|
On his sixth album, Palace Savant, Brooklyn producer Jonas Reinhardt (aka Jesse Reiner) undergoes a profound solo odyssey. The record may be the most spectacular realization of Jonas Reinhardt's outward-bound sonic aspirations. These eight tracks draw on 14th-century architect Peter Parler's breathtaking St. Vitus Cathedral in Prague. "St. Vitus is a statement to the future by the rulers at the time," Reiner says. "It's surreal, grandiose, psychedelic -- and the sheer scale of human ambition involved is almost beyond comprehension." Parler reportedly deviated from the cathedral's initial blueprint and elevated the Gothic style to heretofore-unimagined, bizarre levels. With Palace Savant, Reiner projected Parler's handiwork into Thomas Edison's era of electricity. "I envisioned [Parler] retrofitting his cathedral with excesses of incandescent light, preparing for a coming age of electronics. Palace Savant is what a contemporary electronic performance in that space might sound like." Recorded on tour and in New York over the course of a year and mixed at Transmitter Park Studio in Greenpoint, Palace Savant begins with the instant attention-grabber/pulse-accelerator "Old Kaizen." At once claustrophobic and spacious, it possesses an urgent, chase-scene synth throb that would make John Carpenter or Bernard Fevre jealous. The turbulent "Shattered Remains of Orr" sounds like Edgar Froese's kosmische-ambient masterpiece Aqua (1974) tossed into shark-infested waters. On "Androma," Reiner's expertly-modulated arpeggios contrast low and high frequencies, revealing his ability to create suspense with a chiaroscuro of whirs and pulsations. Palace Savant achieves two towering peaks. The first is "Go Sceptre Go," a swiftly-moving, heavenly droner that veers off on a tangent into a much darker, more chaotic direction. The second is "Noctornum," a burbling and soaring piece that's at once aquatic and astral, before an emphatic rhythm forms, pushing things into menacing Szajner-esque territory. The album closes with the mid-tempo arpeggios and muted, wailing siren-tones of "Omat Principle Decay," a moving finale to a record that's taken you so far and tingled your senses so intensely. A high point in Jonas Reinhardt's large canon, the dramatic and majestic Palace Savant does exquisite justice to St. Vitus Cathedral's grandeur. Album artwork by Andy Gilmore. Mastered by Rashad Becker at Dubplates & Mastering.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NNF 230LP
|
"The hermetic kosmische lexicon of San Fran-based synth synthesist/composer Jesse Reiner (Jonas Reinhardt's founder and principal architect) has been simmering and swelling at a steady clip the past few years (2010's Powers Of Audition was def a highlight), but the added talents of drummer Damon Palermo (Mi Ami), bassist Diego Gonzalez (Citay, 3 Leafs), and guitarist Phil Manley (Trans Am, more) has levitated the JR Experience to a whole new head-music hall o' fame. Recorded in Berlin, mixed in SF, then mastered/cut back in Berlin at Dubplates, Music For The Tactile Dome is easily the most deep-trip micro-focus Jonas odyssey to date, nine technicolor fractals of glittering synthesizer skyways and master-crafted pulsing kraut terrariums. A handful of tracks ('Smokey Jotus,' 'Hander Zader,' etc) invoke more of the classic live JR vibe, with propulsive cold-grooved rhythm sectioning, but by and large Dome is designed for heavy headphone communion, an expanding magic eye tapestry of brainwave activity constellations. Black vinyl LPs in jackets with beautiful spectrum-assemblage cover art by Sean Patrick. Edition of 650."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KRANK 142LP
|
LP version. "Jonas Reinhardt continues his cosmic flight inward on this latest release. The instrumentation from his debut album expands here to include acoustic drum patterns, guitars, and woodwinds alongside synthesizers and electronics. Together, these voices seamlessly twist and meld into a singular aural journey. This is music of the spheres for an electronic era where new age visions are re-imagined through a lens of experimental rock. The titular concept behind the album, drawn from ideas of the post-war avant-garde, refers simply to the human capacity to audition sound and fill in blanks where the composer leaves space for interpretation. Jonas explains: 'Each of the songs is meant to engage the listener's innate power of audition to fill in intentionally left blanks. These occur throughout the recording where there is either diminished narrative resolution or explicit sectional movement meant to provoke an auditory response.' The result is a mesmerizing journey to cracked and digitized moonscapes where Reinhardt's transparent relationship with instruments, sound, and form are made whole and hints of a beat-centered future are just around the corner."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
KRANK 142CD
|
"Jonas Reinhardt continues his cosmic flight inward on this latest release. The instrumentation from his debut album expands here to include acoustic drum patterns, guitars, and woodwinds alongside synthesizers and electronics. Together, these voices seamlessly twist and meld into a singular aural journey. This is music of the spheres for an electronic era where new age visions are re-imagined through a lens of experimental rock. The titular concept behind the album, drawn from ideas of the post-war avant-garde, refers simply to the human capacity to audition sound and fill in blanks where the composer leaves space for interpretation. Jonas explains: 'Each of the songs is meant to engage the listener's innate power of audition to fill in intentionally left blanks. These occur throughout the recording where there is either diminished narrative resolution or explicit sectional movement meant to provoke an auditory response.' The result is a mesmerizing journey to cracked and digitized moonscapes where Reinhardt's transparent relationship with instruments, sound, and form are made whole and hints of a beat-centered future are just around the corner."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
KRANK 119CD
|
"Drawing from traditions of 20th century instrumental synthesizer music, Jonas Reinhardt represents a love affair between analog electronics, sweeping atmospherics, and driving motorik beats. Combined together, these elements bring the album's 13 pieces into focus as the soundtrack for an inner-eyelid space epic that never was. Inspired in equal measure by the natural beauty of his California coastal surroundings, continental European art-rock experimentation, and the freewheeling punk aesthetic of contemporary home studio recording, Jonas Reinhardt's music transcends its influences to bring into being a work that's wholly new while referencing a celebrated aesthetic of the past. Armed with a battery of analog synthesizers and vintage drum machines, Jonas writes music that is at times stark and spare and at others lush and all-encompassing; all the while keeping an underlying rhythmic pulse just beneath the surface. Jonas describes his technique as 'a spirited conversation between man, machines, and the ecstatic truth of the chaotic unknown.' With this album, Jonas carefully constructs melodies and rhythmic foundations then pushes the limits of recording to the sonic fringes and beyond. The effect is a warm, hauntingly familiar sound bounded by unpredictability."
|
|
|
|