Klaus Marten – In A Dream (None)

Klaus Marten - In A Dream

You are now gawking at the album art for Klaus Marten’s In A Dream. It looks a lot like how I feel inside.

Artist: Klaus Marten
Title: In A Dream
Label: None
Cat#: None
Keywords: Experimental, Instrumental, Atmospheric, Ethereal, Lo-fi, Shoegaze
Reviewer: Alex Spalding

I wonder if we could get an awkward pause out of the way right at the beginning… let’s see…

[awkward pause]

… ok, nice, now that that’s over with all I’ve gotta do is fill the rest of this review with talking non-stop so that we won’t have any more of those awkward pauses but will instead end up with a very long run-on sentence, but anyway, it’s brilliant, you see, because I don’t actually have to carry this whole thing with my voice, just type it all out, but moving on, I think I’ve got an album totalkaboutand… er, uhhh…

[awkward pause]


Seriously?– I can’t even believe that just happened again, so it’s time to keep going yeah, alright, first track on this wonderful musical escapade to Brooklyn in the rain (at least that’s how I imagine it) is called ‘Loops’ and it takes a moment to begin, but we hear a creeping forth of guitar fuzz like a dirge brought forth from the darkness, and it’s very drone-like, ambient, warm… I feel like I recognize the tone of the amplifier, but can’t put my finger on it since it’s so far away, but there are lovely, quite nice atmospheres emerging, really breaking through the morose gloom of fuzzy guitar, and then a warm, sizzling bass guitar flows out into the mix so by this point I’m thinking, wow, I’m in love with the sound of this, and then as if in answer to my deepest yearning, a lo-fi rhythm enters my headspace and I feel like I could sink into this music forever, shroud myself with it as though it were a warm blanket and the only respite from a cold and empty and probably poorly ventilated room…

… but then that’s over, and we come to the track ‘Outpost’ which feels a little more enclosed and not as inviting, as it’s really more like a dark ambient soundscape, something you’d imagine was recorded in a catacomb, evoking a similar sense of morose, and you can almost feel electricity tickling the back of your neck right before the church bells, aaAGH!

[awkward pause]

… damn… oh well, the next piece is ‘Boardwalker (Acoustic)’ which, true to it’s name, is very acoustic, with a repeating strum of guitar over which are laid more acoustic guitar, but it all unfolds into a really nice section that, despite the acousticity, reminds me a lot of surf rock, but instead of surfing I feel like the sun has set against the waves and I’m trying to enjoy a stupid drink and smile but finding it hard to not want to just lay down and pen a letter to the world about my tears, but maybe the best thing would be to just wander off instead to be among strangers…

… whoa, radical change going into ‘Jam (Wrong Broadcast)’, but it was also perfect, I really felt like I needed some wild shredding through an obscure effect pedal or several after the mood of the last thing, and while this goes I hear the most amazing background ambiance, like a choir made of cryptic winds, and as the guitar-modulations continue they become more bizarre, at times sounding heavy with distortion and at others like an Atari machine melting on acid, sometimes it even sounds like a reel of tape in fast forward mode…

… but, another acoustic piece follows, titled ‘Daytime’, and it’s really short, just under a minute, but it’s kind of nice and just ends, heading into a silence that gives way to…

… a truly beautiful piece of music called ‘When You Wake’, all warm, lo-fi tube amp guitars, tambourine, very surfy vibes, strange effect treatments, just loving the way this sounds, and *cough* ugh, yak!

[awkward pause]

… not again! Oh well, we’ll just pretend that didn’t happen and talk about the next track, ‘Stitches’, which has a deeper, more hi-fidelity tone, which also feels a little like I’m listening to some eldritch guitar solo on a classic rock album by a classic rock artist from the era of rock classics or something, I imagine lighters being held in the air and all that jazz, but it’s more like a shade of that sort of thing, being run through some kind of slow-motion filter, like we’re listening to it underwater, and the drums when they arrive feel massive with arena reverb or something, it’s kind of surreal to be honest…

… ‘[Pointillism]’ sounds even stranger, though, like an intensely modulated synthetic tone caught in a small room filled with bees and crickets, and it never really gets anywhere, just kind of feels like an alien transmission of incomprehensible nonsense that I could maybe feed through a fax machine and receive a coded message…

… then, on ‘Angelina Tyler’, the crickets remain (slightly softer… just slightly!) while a piano is played, and at first I wasn’t enthused, but I liked the melancholic ending chord…

… lots of noise on ‘Sound Collage’, as perhaps I could have anticipated had I not been lost in my head a moment ago, but it is very distorted and lo-fi, with traces of interesting sound kind of buried underneath the morass of sound, overall it’s not the best thing on the album, but…

… afterward we come to another acoustic moment in time titled ‘Aubade’, which is pleasant and brief…

… and falls away to be replaced with the final mood of the album, ‘[Untitled]’, which is interesting, it really doesn’t need a title, it is really like two tracks divided by a gulf of silence, the first a simple, depressive guitar piece, which leads into a blast of kind of harsh tape noise that is interrupted, becoming another short acoustic thing… that… is, um… acoustic…

[awkward pause]


Um, so, I, uh… guess I’ll just leave this sink, er, um, link here… awkwardly…


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