Tomas Korber - Mass Production

Tomas Korber
Mass Production
w.m.o/r
10

As I’ve mentioned before, I prefer dealing with a recording “blind”, not particularly aware of how this or that sound was achieved or even, for the moment, is there is an overarching, extra-musical purpose behind the project. As I discover (or don’t) these things, it’s interesting to see how, if at all, my impressions shift. Korber calls his fine, new disc “Mass Production” and includes images and schematics of some old factory equipment so there’s already some possible attached meaning, a meaning that would appear to be enhanced by what you first hear, a gradual fade-in of some irregularly rhythmic, mechanical seeming sounds, giving one a sonic image of a large rotor or fan, old and dirty enough to have acquired detritus that clips its enclosure as it rotates. It’s slowly superceded by a more generalized hum, a rich though non-tonal drone that contains more strands than immediately apparent. Both of these elements are the sort of thing one might, if lucky, discover for oneself while wondering through an industrial area. Whether you’d be aurally aware enough to stop and listen is another matter, hence the great value of a disc such as this. These episodes ebb and flow, again giving the impression of walking through a large space, turning a corner that blocks out the previous drone only to open upon some machines emitting a banshee wail.

In any event, this is the impression I get over the first 20 or so minutes. Perhaps I’m being overly imagistic and Tomas may have different ideas! Suddenly, however, “Mass Production” makes a sharp right turn, leaves the factory entirely and enters, well, maybe an adjacent laboratory where specialized experiments involving high frequency modulations are being undertaken. Something goes awry and the technicians get the opposite of what they sought as the apparatus does an abrupt flip-flop into chasmic throbs that threaten the integrity of the surrounding walls. More to the point, this disjuncture is an attractive strategy, a way of not getting too caught up in the relative luxury of the drones and rhythms, forcing one to step in a different direction at the risk of losing some overall coherence. I suppose the critical thing is that you feel that the step was a natural (if entirely unanticipated) one, not taken because of a dearth of ideas but more so as not to allow one to get into any kind of rut, however enticing. This second section evolves and mutates until we arrive at a luscious pairing of high, rustling swizzles and a simple, basso hum that begins to ooze out into the space, losing solid shape and sublimating into the “room” in a lengthy, relaxed coda (I’m trying not to make my usual referent but at this point in the disc, it’s tough!). The pacing is wonderful; Korber knows when to linger and when to move on. He actually ends on a rather dramatic note, a swift upswing in volume and sudden silence.

“Mass Production”—it’s a good thing.

~ Brian Olewnick