Hauschka
‘Salon des Amateurs’
Released 11.05.11
Label: Fat Cat records
Pianist and composer Volker Bertelmann marries two main styles in his latest record: classical and dance. Not an obvious combination, but there is nothing awkward in this musical relationship. Sometimes with instrumental albums it’s harder to feel a sense of a complete work, there is no obvious narrative to connect with; but this feels like a very fluid affair, particularly as Hauchska’s previous work has been piano-driven.
The album is in parts, dreamy filmic, post-classical instrumentation in the vein of Yan Tiersen and in others more minimalist and downtempo electronica. Apparently he drew inspiration from the 90s techno scene in Cologne, but you’d have to ask someone more techno-orientated about that (In case it wasn’t obvious, European dance sub-genres are not my specialism).
I digress, ‘Girls’ is hypnotic, lush strings sound playful over more stark piano melody and a sparse marching beat.
Bertlemann worked with a number of collaborators on this record, including Samuli Kosminen from Múm on some drumming duties which makes total sense of the strings and syncopated beats of ‘Cube’ and the eerie, ‘Subconcious’ where different sounds seem to creep out, one after the other. There is so much interesting instrumentation at work and different styles overlapping it’s difficult to break down, and yet it doesn’t sound incoherent or crowded. Every beat and pluck is precise – a testament to its creators fastidious work ethic (rumour has it he used to take up to two hours preparing his piano before gigs, using gaffa tape, bottle tops and ping pong balls among other bizarre items with which to create his unusual sound) that’s dedication!
‘No Sleep’ veers into a jazz-tempo territory, like a more whimsical Tortoise .Conversly, ‘Tanzbein’ is epic and cinematic – sweeps of cymbals underpin the strings and pianos and building beat: close your eyes and imagine it as the backdrop to screen action. ‘TaxiTaxi’ sounds like the musical brethren of Kieron Hebden and Steve Reich with the brass and playful spirit of Múm thrown in.
For all its richness and complexity, it’s not solely a ‘musos’ record, although it is the sound of a man looking for a new sonic challenge – an often dangerously self-indulgent area. Fortunately though, it’s a treat for discerning ears, lovers of hypnotic beats and interesting arrangements alike.