Artist: Pansori + Mitei Narico
Title: Devil’s Circuit
Keywords: experimental ambient drone found sound noise remix rework Berlin
This epic collaboration between the sound people named Pansori & Mitei Narico opens up with a overwhelming breath of a cool breeze. Something that slides out of the speakers and inside the ears of many listeners like a well lubed experience. After this the soundtrack becomes pretty intense, as if a hollow drone is being unleashed out of a ghostly corner & has only one purpose; to fill up the place with cold ass smoke. It’s pleasantly overwhelming, fogging the emptiness up until nothing can been seen & only a whirlwind of nice comfy noise can be heard.
With a fine reasonable ending the noise made its way out, ready to make way for a intriguing one named ‘erratas’. The sound that slides out of here is more sharp, as if it’s extracted out of a sharp knife and converted into a mysterious drone type of music. One that has subtle details of underlying music within it, creating some kind of three dimensional piece made to trip on. Next is something that feels comfy in a stormy cracking way; I can’t really say why it feels so pleasant, but I believe the sound has that certain lo-fi vibe that even the worst storm would sound friendly in. This storm is still calm, but you can hear it crumbling in the microphone…
The track named ‘Northern, part 2’ is one that in all its oddness is the first piece that feels Japanese to me. I don’t know why, but there is a certain sound within it that made me think of the audio pieces as heard in the movies of Shuuji Terayama. It’s just as surreal, even though you have to imagine the pictures for it within your own head.
This was all Mitei Narico’s work, which is followed by the straightforward intensity delivered by Pansori. Right after the surreal goodness, Pansori launches a harsher sound field in which hallucinations await in its depths, that is; if you dive deep into it. Once the ears are rinsed and the mind ready for more, the sounds will come down to create some kind of bubbling mud pool in which a spooky old fashioned steam train will attempt to slide through. It’s strange but also pretty material; it brought out the movement (of the train) and the damp loneliness (of the mud pool), a thing that for me seems to be a case of bringing together ‘the best of both worlds’.
From here it becomes more noisier, skydiving on these intelligent sounding sounds that are loud and industrial. Still the landscapes that they create within my mind is one of emptiness, ones in which no people are living and you can see for miles nothing but dirt and darkness. It becomes more brighter when the final track on the album flows out its presence. Something that sounds warm, smooth and tonal, without dropping the cold harshness of an abandoned world in which no flower would grow.