When artists themselves find it hard to categorize their own music, critics are quick to foresee possible troubles ahead; the accompanying fly sheet to Susanne Brokesch's follow-up to her well-received Sharing the Sunhat claims that the multilingual Austrian's sophomore effort was very much influenced by the dusty sound of second-hand opera. Put such slippery metaphors to one side, however, and the beautifully packaged album holds court to a 42-minute panorama of luscious sonics. Brokesch's world is one where all manner of electronic clicks and whistles pirouette in a landscape liberal in its use of rich orchestration, the percussion more an occasional flourish than a purposeful measure of time or meter. Indeed, these expansive plains of sound are often unhindered by the usual cybernetics, the whole thing reminiscent of such seminal works as Future Sound of London's Lifeforms or the Collection of Short Stories of Mark Pritchard in its almost Luddite disregard for the regulations normally imposed by the mechanics of a modern studio, flushed with an emotion and frail beauty lost for some time from the technology-obsessed clique that makes up much of modern electronica.
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AllMusic Review by Kingsley Marshall