Microstoria
Model 3, Step 2
[Thrill Jockey]
Rating: 8.0
Every once in a while, I find a record that causes me to hear music in a new
way. One of my most profound examples is a Microstoria release that has an
Oval remix called "Microstoria Runtime Engine" on one side and Stereolab's
mix of "Endless Summer NAMM" on the other. I picked up this unassuming 12"
used a few years ago, just before a long weekend when, for some reason, most
people close to me were out of town. During those blessed three days of
solitude, I listened to that Oval remix probably twenty times, and my
amazement grew with each spin.
Drawing elements from five different Microstoria tracks, Oval's Markus Popp
(who was, in a sense, remixing himself since he comprises one half of
Microstoria with Mouse on Mars' Jan St. Werner) created with "Runtime
Engine" a piece that was both the most "digital" track I'd heard and the
most organic. The way the various clicks, buzzes and drones were organized,
"Runtime Engine" didn't sound "played" by something living, but seemed to be
some kind of life in itself. The image that came to me during the first few
listens was a heavily magnified film of cells diving in the womb. As the
various loops interacted with and built upon each other, the components
remained the same but swelled according to some strange underlying algorithm.
And this precise arrangement of seemingly random electrical impulses struck
me as very beautiful.
I still put on "Runtime Engine" every month or so (it's also on the
Microstoria remix album Reprovisiors), and it hasn't lost its luster.
But there is a downside to this kind of listening transformation. I've
spent the years since digesting clicks, cuts, glitches and squirms in search
of something with similar personal impact, and it's hard to come by. This
exploration has led me through the complete catalogs of both Microstoria and
Oval, and still, nothing for me matches "Runtime Engine" for sheer wonder.
Model 3, Step 2 is Microstoria's first studio album since 1996's
snd, and while it's very good, it falls short of that highly subjective
ideal. Still, this is a fine collection of warm, glitchy ambience that should
appeal to admirers of abstract electronics. Much more subdued than Oval's more
recent efforts, and more random than St. Werner's solo work as Lithops,
Microstoria find a happy medium of strange, nervous, consistently surprising
atmospheres. Drawing from similar sound sources as Ovalprocess (sampled
guitar buzz digitally stretched to its limit, oddly percussive texture shifts,
manipulated organ chords), Microstoria construct an alien, yet still oddly
familiar environment.
One reason I think Microstoria is lost on people is that they think of it as
"ambient" music to be played quietly while doing something else. Quite the
contrary, music this dependant on detail demands to be played loudly,
preferably through a decent stereo or headphones. "Glocky Bit" features layer
upon layer of delicate sound buried beneath its bass-heavy synth chords.
These tiny repeating melodies hover several leagues beneath the more menacing
surface, adding levity to the outwardly oppressive foreground.
The distantly pop "Flexen" is a glowing drone constantly bumped off track by
digital clicks, and only at volume can one hear just how. Close your eyes and
crank "Paro Fadeout" and you'll swear you're floating in the ocean, listening
to a whale trying to speak the language of a submarine. Model 3, Step 2
may not represent a paradigm shift, but it deserves to be heard.
-Mark Richard-San