After the immersive split from Imre Kiss and Casi Cada Minuto, plus news of the impending release from Warsaw based Lutto Lento, Proto Sites is going further down the rabbit hole with a new six track story from Hungarian (de)constructionist S Olbricht. 'Trancess' promises hazy ambient techno and distorted house roots, ever exploring the gritty themes present in the consistent body of work for the likes of Opal Tapes, Gang of Ducks, Lobster Theremin, SicSic or his own Farbwechsel imprint.
As if trapped in locked groove or tape loop the whole EP drifts in a circular motion. 'On's naked percussive patterns repeatedly fall over each other while the disorienting staccatos of 'Onlon' fade into the thick smoke soaked basements. 'Lacertid' featuring label mate Imre Kiss starts with a rattling sound which could be recordings of rain rapidly falling onto windows. When the greyscale synths kick in they rupture this descending bleakness with a strange otherness.
Further down the spiral, from the agile 'Onlom' to the grainy blur of 'Trancess' and finally to the epic droning atmospheric synths of 'Cambran' things gets more distorted in time and space. Cambran as perhaps the most psychedelic exercise comes with bare bone drum hits, rough and raw underpinning the highly processed sound geography of this no mans land. It's in these details that Olbrichts work proves to be a powerful grower. An abstract end breaking down this purposeful degradation of sound into its most core components.
released June 22, 2015
2015 Proto Sites
All music by S Olbricht
except 3. Lacerdit feat. Imre Kiss
Mastering by Stephen Bishop
Artwork by Matúš Hnát
Photo by Juraj Hoppan
supported by 11 fans who also own “Trancess | PS004”
S Olbricht 's "For Perfect Beings" was rapidly becoming house music's "Chinese Democracy", a combination of interminable pressing plant delays (the phonographic industry's response to the unprecedented rise in demand for vinyl: do precisely nothing to the ones that do exist [usually converted cold war missile silos in the most inaccessible parts of Eastern Albania that use equipment that would have looked out of date to Al Jolson and which, when they frequently break down, are expected to be mended with spare parts surreptitiously unscrewed from sewing machines and combine harvesters] that led to a belief it might never see the light of day. Public frothing at the mouth was partially assuaged by the sudden recent release of a 4-track EP ,"ZZM" on Lee Gamble's UIQ imprint, then finally, it was here. What I love about Olbricht is his ability to hone in on the elements he knows elevate his tracks above the norm (an earpython of a melody; a percussive framework that plays subtle tricks with the usual 4/4 setup; a fi that sits squarely between the forced low and the over-polished hi and an indefinable character that forces you listen but not for the arrangement of hard/software involved in a track's creation, but the track itself. It's a difficult recipe to make work (for the 3 Michelin star equivalent, listen to Perfume Advert) but Olbricht has a talent that I find gloriously addictive. Was "For Perfect Beings" worth the wait? You betcha. Niccolo Brown