1-2 Weeks
Nocturnes, False Dawns & Breakdowns


"One and a half years after new Berliner Andrew Pekler, a former Californian and proud purveyor of a solid indie background ('Mucus 2', 'Bergheim 34', 'Sad Rockets'), had surprised the world with his very own atmospheric blend of click & cuts aesthetics and sampled analog jazz sounds on his astonishing, self-titled ~scape debut album, he now presents us with his second, rather more ambitious coup. All 14 tracks on Nocturnes, False Dawns & Breakdowns play with and around different facets of urban noir sentiments. The night has many faces from the promise of excess to social gatherings under the club dictate and the alcohol-induced, melancholy mildness of the 'wee small hours of the morning' (Sinatra), to name but a few of the myriad possible associations. Nevertheless Nocturnes, False Dawns & Breakdowns heads down a different, far more contemplative route. Not only did Andrew Pekler's produce his tracks at night, but he allows them to reflect and reproduce the prevailing nocturnal mood. But unlike the above-mentioned associations, this album is about individual experience, circling around terms like introspection, clarity or concentration. And this is something all of us have experienced at one point or other: the later the night, the less we are assaulted by external input or exposed to ever-present, ambient noise and this changes perception, throwing us back upon yourself. With titles like 'Soft Dissolve', 'Stardusting', 'Leaden Lids' or 'Sleepless' this particular state suffuses Pekler's tracks, leaving a lot to the listener's imagination. As on 'Station to Station' Pekler's language might superficially hint at the heroic phase of late 60s/early 70s electronic fusion jazz. With the drums high up in the mix, accompanied by threatening keyboard clusters, the resulting sound is decidedly reminiscent of the open textures of classic Miles Davis records like In a Silent Way or Bitches Brew, even early Weather Report like 'I Sing the Body Electric'. While Peklar's sound might remind you of the soundscapes of collectively produced (and improvised!) music, he on the other hand prefers to work on a bricolage of found material which in turn helps to artfully open up further spaces. What, at a cursory listen, might seem easily categorizable, suddenly gains depth, indifference and richness. Like motifs, his distinct repetitive brass or vibraphone loops add enough recognition value, but these embellishments only mask a veritable abyss of diversity most of Peklar's sampling material hails from the analog jazz of the late 50s. With this album Andrew Pekler proves that historical sounds cannot be deleted from the memory of a declared fan of music. Everything remains in place, preserved in wax, hidden, but not gone, just like the subconscious. Should we call this electronica? Or jazz, after all? Pop, even? Well, pigeon-holing has never been less important."