The artist who calls himself Kindergraph is an independent musician in Glasgow, Scotland who’s just released a new album titled East of the attic, which he says is “my first foray into recording and releasing my own music.”
Though Kindergraph has played in Scottish indie bands over many years, he enjoys writing quirky music to please himself: “It’s a great side project from a demanding day job.” The type of music he began producing over the past couple years surprised even him, since he made no attempt to fit any particular genre. He admits that among his apparent influences are Fourtet, DJ Shadow, Mum, Emancipator, Boards of Canada, Massive Attack, The Blue Nile, TWDY, Wolf Alice, Jonsi, “and the full gamut of ‘80s melodic pop.” He says his music is “sometimes playful, sometimes sad, sometimes triumphant, always curious. Some of the parts are improvised or synth knobs are twiddled in such a way that the recordings are a one-off. I like the fact they can't ever be exactly reproduced.” Kindergraph recorded himself in his own lo-fi attic studio using a digital 8 track recorder and mastered using CloudBounce. Interestingly, Kindergraph avoids using computers as much as possible. “Your mirth, my salve” kicks right in with a cool, old school synth sound and “percolating” beats. The keyboard melody could almost be baroque if it didn’t have such a “retro-futuristic” sound. When the additional overdubs begin, it sounds like something Keith Emerson or Rick Wakeman might have created in kindergarten. The melodies are engaging and upbeat while feeling more like musical toys than advanced electronics. The occasional kick drum has a deep and satisfying impact. The lead synth track in “Sullen kink” has a rude aggressiveness, with a tumbling closet-full of percussive effects and errant voices echoing in the background. Slowly a steady tempo emerges, with the melodies darting back and forth behind drum hits that could be sampled bowling pins. On first listen it’s hard to grab onto the tune (such as it is) but the overall effect is fascinating. Halfway through, the track crossfades into a different but similar composition with an acoustic piano patch that adds a bit of smooth jazz flavor, with the percussion sounding more like handyman power tools or giant woodpeckers. “Fuzzybear” starts with the dialing of an old fashioned analog telephone. The melody has an underwater quality with a retro Kraftwerk beat pushing it along smartly. Again it’s tricky finding a real “tune” here but the cloud of notes and chords creates its own unique spell. Also, as before, the track takes a sudden turn halfway through for a more distinct, direct melodic statement. Don’t know how this is possible but the drum beats suggest a growling, breathing bear! “Where the rain meets the river” is built on stark piano chords bathed in reverse-zoom synth sounds and sporadic, sharp percussive effects. The main chords are a lattice on which to hang all sorts of sounds and inverted melodies. Predictably now, the whole feel of the track changes in the middle, becoming more of a traditionally minimalist keyboard instrumental, like Giorgio Moroder hopped up on caffeine. “Jura will still be there in the morning” is an interesting track because like a few of the songs, there seems to be a disembodied voice speaking way in the distance. The soundscape here is very much like a desert landscape (and I should know, as I live in the desert now) with the circular, robotic melodies dialed way back in the mix. The lack of audio aggression is a refreshing change at this point in the proceedings. “Fine day for the carnival” is built on a simple alternating note pattern, slowly building upon its edifice with counter melodies and (of course) unique and almost cartoonish beats. The slow march to relative complexity again feels a bit like Kraftwerk. “Fried bubblegum” has the repeating tempo of a police siren over which Kindergraph “sings” through a Vocoder like Laurie Andersen or Neil Young. This one feels like a hit single trapped within a singularity, but I like it exactly how it is. The track builds organically and it’s a short but thrilling ride. “This fractured memory” ends the set with one of the longest tracks. It seems to rise up from a foggy swamp, with frogs groaning and talking amongst themselves (you will not literally hear this, but that’s how it hits me). Little bursts of percussion test the waters until the beat finally kicks in. This track is relatively laid back and hypnotic, content to suggest feelings and imagery without spelling things out until the dramatic closing melodies. If you love that old school synth sound you already know this is for you, but I think this music is interesting and intriguing enough for everybody to check out. A fine achievement!
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