Info Chance Reconstruction - M. Ostermeier 
"Chance Reconstruction"
by Marc Ostermeier
Tench (TCH01)
"Deepr"
"Suspended"
"Harp"

Marc Ostermeier's URL

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fn issue October 2011
'N-Plants' - Biosphere
'Sky Snails' - The Electric Golem
'Echo Park' - Willamette
'Gramophone Transmissions' - Broken Harbour
'Negative Space' - Blue Sausage Infant
'Home Patterning' - compilation
'Polychromatic Integers' - Richard Lainhart
'Generate Records' - compilation
'Sung In Broken Symmetry' - Aquarelle



M. Ostermeier's third and first full length album Chance Reconstruction, is a collection of instrumental works based largely around simple piano melodies, guitar, electronics, and very much in keeping with his two earlier EP releases on Hibernate and Parvoart. Ostermeier started his recording career with a shoegaze/post-rock band, and is part-owner of the eclectic Minneapolis label Words on Music, however his electronic music is more redolent of his Hibernate label mates Chihei Hatakeyama and Ryonkt, or Taylor Deupree, who also mastered his second release.

Piano and ambient electronics have come a long way from the 1980s milestone recordings of Harold Budd and Brian Eno, where effects were added to Budd's performances in real-time. This processed performance paradigm remains popular, even as the live modifications become more exotic and bizarre. Ostermeier takes a different approach in that the interaction between the piano and electronics is slightly disjointed and out of sync. The melodies or loops focus the listener's attention, while the electronics become an unworldly ambiance. This is illustrated on tracks such as Suspended, where a simple repeated octave in the treble is matched by a slow moving melody in the left, all with so little resonance as to sound nearly muted. Behind all this comes artificial, ambient white noise with an occasional percussive rattle, and a suspended pure, high note floating above it all. Harp features a piano loop reminiscent of Budd, but the murmuring electronics includes an irregular, off-kilter click track that moves independently of the piano. Gestures that comment directly on the lead voice gain potency through their infrequent appearances.

Where Ostermeier adds guitar, it serves the same role as the piano, remaining recognizable in Beacon Adrift, a mournful recollection of the 'Old West', surrounded by repetitive pseudo-crickets and glistening electronic twinkles. Deepr [sic] is one of few tracks with a beat, albeit a slow BPM drift that guitar subtly backed with piano build to a chord progression that intensifies toward the end. The majority of the albums vignettes hover around a single emotion, short exquisite pieces that work well as a collection, as well as part of a mix. All of Ostermeier's albums, including Chance Reconstruction, are available from from his Bandcamp site.

Review by Caleb Deupree

 

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