Following my upbeat review of Location Momentum (Touch) here last May, I’m now bemused by the clamorous contrast between the diffident “let-the-music-speak” attitude hitherto shown by Eleh (whose identity still remains a mystery to most people) and his/her incongruously egotistical comments (low-budget piousness?) released in the Rewind 2010 section of the January Wire. The former has obviously worked wonders in rendering him/her a cult figure of latterday electronica, but let’s hope that the verbal threnodies for dead birds, and moans about the hardships of daily life won’t continue.
There’s no question that the music works pretty well, but there are no radical inventions here. The pulsating minimalism born from Eleh’s synthetic waves is nothing more than the result of a cheaper, less painstaking process reproducing the psychoacoustic effects achieved – following months of hard studio labour – by the bona fide masters of the bordering pitches (do we really need to name names?). Nevertheless, the consequence is functional: the heartbeat slows down, the brain receives the desired rubdown, the cadence of pumped blood pushes from within, altering the balance of hearing. Too bad about that horrible melody spoiling the end of the second track. Radiant Intervals is destined to add further degrees of adulation to its creator, which is fine by me if music remains his/her only means of expression, but beware the notorious tendency to swiftly increase the number of releases after having found an audience ready to swallow three or four outings per semester.