Review of NVMBR

November 30, 2013

Lars Graugaard and Keisuke Matsuno’s release NVMBR has received a very good review in Mentenebre. It is in Spanish, here is the English translation.

“This is the second release from a label that challenges the idea of ‘music as property’ by discarding the physical format and replacing it with the digital and intangible, with the purpose to adress the fundamental challenge to all music: that it must be heard.

Personally, I am a strong supporter of music in physical formats. For me, the CDs are like pages of a diary. Looking at the front of a cover I am discreetly accessing fragments of my past, reaching memories crammed into the far back of my mind. On the other hand, it is true that the accumulation of physical objects binds us to the ground, making is slaves to our own possessions.

For this second release, Clang presents a work that is able to reach from the limits of experimental music to overt dance floor influence. Lars Graugaard and Keisuke Matsuno have joined forces to offer us a bewildering and hypnotic work. The release consists of six contrasting tracks where the disconcerting is the main feature. It is an album the displays a large capacity for improvisation and does not leave you indifferent.

Experimental acoustic elevated to full power, ‘Nvmbr’ is a kaleidoscope of influences and sensations, an album in which juxtapose all kinds of electronic trends. A mix of resources that will satisfy even the most demanding listener.

Most tracks do not exceed five minutes in length, except ‘4th Street Workaround’, but this feature does not hamper the result. The possibility of creating a framework for dense experiments remain intact and provide a great listening experience that the audience can enjoy to the fullest. In many cases it is not even necessary to extend a track in order to develop the sonic space and create a weighty encounter. It all depends on the skill of the composer, and I guarantee that these two geniuses of experimentation unfold the music with a mastery worthy of the deepest admiration.

The influences that denote this work are varied and heterogeneous, first and foremost from the pioneers of the industrial genre Throbbing Gristle, when it combines rhythmic melodies with sonic digression and noise effects. Obviously, I have also found some parallels with Chris And Cosey, although it is to be expected as they were a result of the aforementioned seminal group’s split.

‘Nvmbr’ is as interesting a work as it is puzzling. Do not miss the opportunity to hear it.”