Here and there, we’ve already hinted at the fact that the synthesizer is functioning as the leading instrument of electronic music these days. Especially the renaissance of early synth-sounds, as used by Krautrock or for †žKosmische Musik†œ cannot be denied anymore. The latest to move in this direction were Mountains, Editions Mego have even founded a separate sub-label named Spectrum Spool for the American synth-avantgarde. Jeff Witscher also belongs to this school. Even before his debut Porcelain Opera as Rene Hell, Witscher was active in various projects such as Roman Torment and Cuticle. Since last year’s release, he’s been buzzing around restlessly, published cassettes at Night People and Agents Of Chaos, a 7inch at Kraak, a Split-LP with Pete Swanson of the Yellow Swans and now, eventually, the follow up is being released. And what a follow up it is. Even though even Witscher can’t quite draw away from the ‘cosmic’-Revival with The Terminal Symphony, the 27-years-old musician convincingly proves that it’s just one facet of what can be done with a synthesizer. As the title of the album suggests, he also reveals his knowledge of classical music while at the same time leaving absolutely no doubt that this one is electronic. Hence, the synth-sounds are sometimes left raw, then alienated, than again arranged, deranged, rhythmicalised, endlessly swung, and in the end, everything is structured to form 10 tracks without Jeff Witscher losing his thread even once. And out of a sudden, the synthesizer’s renaissance does make sense, after all.
K. Yoshimatsu
Fossil Cocoon: The Music Of K. Yoshimatsu
Phantom Limb