Described by its inventor as “another kind of looking back into the last decade”, @ Blankies End is one of the best records that Alfred 23 Harth has released in that period. By analyzing the titles, a forward counting towards 2012 can be detected while observing the recent past. In classically puzzling style, and open to any interpretation by the reader, Harth writes that “…being conscious about every moment we count & live in linearity (…) means a moment within a future moment (2012 is here & now & yesterday)”. The album’s content is both arcane and stimulating; repeated scrutiny is a must. “Ten Tin” contains materials that seem to mix human snoring, chanting monks and bubbling hisses in a conduit, the pace defined by a sort of electrostatic rhythm upon which the clarinet sings with unusual peacefulness, if just temporarily. It’s an inexplicably meditative vision, sounding a little scary at the same time, the grunting tone of Harth’s voice disloyal to the mental image I treasure of him as a timidly smiling gentleman. “Elf” (“eleven”) utilizes distortion in large doses, mashing and mangling snippets of concrete and instrumental substance in homage to the blasphemy of extreme dissonance. The toothsomely vicious results are to be savoured in the restaurant where the finest electroacoustic recipes are served. “Gesternmorgen” is an abstraction: an amassment of simple melodies clashing in adjacency, hyper-acrid reed perspirations, corrosion of heterogeneously alien harmonies and a pinch of disaffection for the cruel world of ordinary music. At the very beginning, “Popol Vuh” might evoke Jon Hassell (the pulse, the nearly tribal atmosphere). The differences become obvious when Harth starts superimposing the different reeds; meanwhile, the background gradually transforms the better intentions in an intimidating mutation of a religious chant, halfway through a sacrificial invocation and the complete disconnection from corporeality. The whole unfolds across undecipherable utterances and other assorted subliminal persuasions. “Twentyhundredtwelve” (namely 2012 or 20+1+2, as the composer would have it) features Choi Sun Bae’s trumpet in a ominous hint to the “enigmatic” year which will define once and for all if those famous prophecies are legitimate or not (curiously, December 21 – the presumed ending date – is also Frank Zappa’s birthday). Again, the voice is a fundamental ingredient of the track, which grows on the listener memorably amidst drones, squeals, gurgles, vociferous solos and warped lamentations, a remarkable episode in Harth’s recorded output. “Back Lantern” explores the fringes of the frequency region with a quick wink to the sweet cheapness of certain synthetic patches from two decades earlier (more on that later); nonetheless, the underlying extraterrestrial mantras and ebbing-and-flowing glottolalia are what actually corresponds to its actual muscle, highlighting a type of spiritual quest that sees the fear of the unknown as a regular incidence in an advanced being’s daily reflection. If someone had taught me to pray like this as a young child, I’d still be there at the church. “Der Schlaf Ist Eine Süsse Melodie” ends the set in typical A23H fashion, and I’m not going to reveal the secret. Go to the artist’s website and ask for a copy of this CDR pronto.
In Temporary Fault