Arc Lab No Spectre CATMD144

Arc Lab’s sophomore release "No Spectre" finds the n5MD imprint returning to its roots. Medard Fischer (a.k.a Arc Lab) uses almost 99.9% the digital realm to create his sonic tapestries. Those familiar with Fischer’s music will hear unparalleled growth in his production and songwriting since 2005’s “the nineteen floors” (MMBP). Those unfamiliar will take comfort in his musical expressions. "No Spectre" features cascading rhythms reminiscent of some of Telefon Tel Aviv’s beat-work, the melodious cadence of early Arovane and some of the warm yet slightly sinister elements of label-mate Proem. It highlights a delicate balance of tension and emotion, harnessing errant melodies, fractured percussion and granular synthesis experiments to make that all-important musical connection with the listener. Human moments made by machines? A human heart succumbing to the synthetic? Or maybe just an artist utilizing some old spectres to make something all his own… [ learn more about Arc Lab]

etherreal

Pour son second album, après un premier long-format sur Music Made By People et une participation à la série Music for Pleasure de Duotone Records, Arc Lab trouve en n5MD une terre d'élection tout à fait idoine pour son electronica colorée aux constructions soignées.

De fait, la musique de Medard Fischer développe des lignes chromatiques soyeuses issues de ses différentes machines et soutenues par des rythmiques parfois légèrement appuyées (Versions), parfois plus proches de vents électroniques ou à d'autres moments plus discrètes. Proposant donc des mélodies bariolées et touchantes, Arc Lab est par endroits à deux doigts de tomber dans un sentimentalisme un peu niais (la ritournelle du début de Natch, celle d'All Parallels), mais rattrape à chaque fois le coup par l'adjonction d'une pulsation plus complexe ou d'une seconde piste mélodique plus travaillée. De même, on éprouva quelques craintes au début des pistes où une voix féminine intervient (The Several Song, The Past !) mais, fort heureusement, celle-ci ne vampirise pas les morceaux concernés, étant mise au même niveau que les pistes instrumentales pour un résultat plutôt convaincant.

Aussi à l'aise dans des titres dans lesquels peu d'éléments sont utilisés que dans ceux faisant preuve d'une plus grande richesse (le très emballant Miss Wet T-Shirt Vancouver 2006), Arc Lab sait également œuvrer dans des climats plus légers, presque dansants (comme le quasi-sautillant Plays Tim Arndt avec ses scintillantes mélodies et sa rythmique entraînante) ou dans des atmosphères presqu'industrielles (Spectres). Un très bon disque d'electronica donc, permettant à n5MD, qui nous avait déjà ravi en 2006 avec les albums de Bitcrush et Last Days, de débuter l'année 2007 sur une excellente note. grooves

It should perhaps come as no surprise that much of the best ambient electronic music in the world is produced by artists who live above a certain latitude, Canada being no exception. No Spectre is the sophomore effort from Arc Lab, a.k.a. Toronto-based sound manipulator Medard Fischer, and is an uncommonly sophisticated and painstakingly crafted feat of production wizardry. Applying a unique and distinctive compositional style to the IDM/post-glitch template, his work is adorned with a crystalline and inorganic melodicism.

Despite the relative minimalism and conspicuously Scandinavian undercurrents of these tracks, each features an understated but discretely perceptible melody. In many cases, several melodies collide with one another simultaneously, generating an expressive and intricately woven patchwork of sound. No Spectre is predominantly instrumental, with the exception of “The Several Song,” which, along with “The Past!,” showcases fittingly icy and detached vocals from Svitlana. Far from oppressive, however, the record is teeming with space, leaving room for Fischer to maneuver the raw materials of his tracks, allowing the melodies and rudimentary fragments of percussion to intersect with one another, resulting in fractal and kaleidoscopic, almost self-organizing sonic structures. Glitches and needle noise frequently provide a percussive foundation for these tracks, which, though constructed almost exclusively from digital components, somehow undulate with a life of their own.

Formidably sequenced as it may be, No Spectre exhibits an undeniable emotional resonance, as on “Miss Wet T Shirt Vancouver 2006,” a track rife with discordant, shimmering blips and bleeps, which are ultimately anchored together by a simple yet beautiful processed glockenspiel melody. The album manages to elude the darkness one might expect based on its ominous (but impressively designed) cover art, the exception perhaps being the eerie “Spectres,” which begins innocuously enough with a child’s puerile interpretation of a ghost story, but then adopts a palpably creepy vibe. Otherwise, these pieces possess a pleasantly benign quality that renders the music as appropriate for background music as for headphones, like the best ambient music that’s preceded it. de:bug

Es muss einfach mal gesagt werden, zumal der Jahresanfang immer perfekt ist, um Prophezeiungen und Trends auszumachen. In den USA wird ein Elektronika- Revival vorbereitet. Ein gutes Album nach dem nächsten kommt von hinter dem Atlantik und das Label n5MD spielt dabei eine entscheidene Rolle. Arc Lab ist mit seinem neuen Album sozusagen an vorderster CPU dabei. Hier fl ießen technisch versierte Genretradition und universell einsetzbares Songwriting aufeinander. Kommt euch bekannt vor? Klar, aber nicht so fein und mit diesem speziellen Twist, der mich eher an Console erinnert als an Warp, dabei in den Tracks immer genug Dampf macht, dass man gar nicht erst im Sofa versinken kann, die Samurai-Shuffl e-Beats aus der Hüfte schüttelt und mit dem Titel des ersten Tracks, "I'm all vectors", einem Gemütszustand einen Namen gibt, an den sich auch die Krankenkassen schnellstens gewöhnen müssen. textura

All released on the same day, this latest trio of n5MD releases reveals the breadth of the label's offerings, from the arctic drones of Tobias Lilja to the emotive electronic compositions of subtractiveLAD. Though Medard Fischer's Arc Lab outing No Spectre is, on the one hand, perhaps the most representative n5MD release of the three, it's also, interestingly, the one that aligns itself most directly to a kindred label, specifically Miami-based Merck. The album's opening piece, “I'm All Vectors,” builds sparkling melodies into a dense field of electronic colour that recalls Arovane while the whirring beats unspool in a manner that recalls Merck mainstays Proswell, Deceptikon, and Proem (the latter also records for n5MD). Throughout No Spectre, contrasts of various types emerge that typically enhance the disc's melodic dimension with intricate weaves of glistening melodies and underpins them with smoothly rippling beat patterns. Moods range between “Natch,” whose bucolic, sing-song vibe is bolstered by subtly funky hip-hop beats, to the more melancholy “The Past!” where simulated harp plucks duet with female vocals amidst synth flourishes. Song titles like “Miss Wet T-Shirt Vancouver 2006” keep things earthbound, as does the crackle of decayed vinyl that ends the song—a stark contrast to the nine celestial minutes of pretty sparkle that floats through “All Parallels.” Natural elements emerge too, specifically Svitlana's soft vocals in “The Several Song” and a child's voice that recounts a ghost story during “Spectres.” evil sponge

Arc Lab is the artistic vehicle of Toronto-based Merdard Fischer, and is the latest in n5MD label's impressive roster of emotive electronic musicians. Yet where many contemporaries have chosen to permeate their work with acoustics and/or vocals, no.spectre remains a predominantly processed creation, relying on mood for its sought after humanity.

In keeping with many of his n5MD peers, Arc Lab unveils an album of tonal exploration. Many of these pieces are variations on a theme. Delicate keys flitter around the sound field like a visit to the butterfly house. Beats gently nudge the listener. The effect is almost Asian as no.spectre evokes a Zen-like atmosphere of gentle contemplation.

To appreciate no.spectre is akin to studying a dew-covered cobweb. At times you feel like holding your breath in case any sharp exhalation causes untold damage. Each composition is a detailed, fragile, filigree. Glockenspiel keys twinkle, beats pitter patter, but I turn up the volume on opener I'm All Vectors when the bass makes an appearance. I can luxuriate these deep, dub sounds reverberating around my home. What can I say? It's how I'm made. I'd take a bath in bass like this if I could.

The track Notch recalls electronic precursors Code and especially their Blind In the Darkness from Third Mind's classic release The Architect. The effect is coolness, yes, but softer and less jagged than, say WARP. I would bet serious money that every ice bar DJ will want to spin Versions in their set.

As we progress through the album more variety is revealed. The two tracks featuring vocalist Svitlana pushes the effect closer to Mùm. And is Spectres Arc Labs response to M83's Car chase terror, segueing from child-narrated ghost story into processed beats and mash ups?

On the evidence of no.spectre, I don't think Arc Lab has the massive crossover potential of, say, label mates Bitcrush, whose own IDM barely conceals a music fan well versed in his indie/shoegaze classics. Arc Lab sit somewhere between the bass-cadet cool of Near The Parenthesis and the intangibility of Loess. However, within the down-tempo genre, I have a suspicion the album will meet with almost universal approval. Headphones will adorn T-shirted men stooped and nodding over decks. Beards will be tugged. Ice will clink into glasses and the coolest people in the world will have another fun night.

No spectre? I think Arc Lab show us the ghost in the shell. So get with the program. papercuts

Après l’excellent album de Bitcrush déjà chroniqué dans les colonnes de Papercuts, le label n5MD renoue une nouvelle fois avec l’excellence. ‘No Spectre’ est ce genre d’album qu’il faut impérativement écouter au casque pour en discerner toutes les subtilités. Les sonorités fourmillent et oeuvrent pour former un cocon où l’auditeur se lovera avec délice.

Sous cette apparence fragilité se dissimule avec subtilité une véritable assise rythmique qu’il n’est pas forcément aisé de distinguer aux premières écoutes. Prenant souvent le contre-pied et le contretemps de l’auditeur, arc.lab réussit aisément à l’entraîner dans des abîmes brumeuses (’Versions’), quelques fois il l’extirpera pour le chahuter sur des passages plus accessibles … Peut-être histoire de reprendre haleine avant de replonger.

‘No Spectre’ est une véritable pièce d’orfevrerie. Il n’est pas rare de re-découvrir une sonorité passée inaperçue. Chaque son aussi minime qu’il paraisse oeuvre pour la cohésion globale du morceau et – lâchons nous – de l’album.

Peut-être trouverez-vous le monde d’arc.lab dense. Ce n’est pas faux, mais on ne se lasse de l’explorer voire de s’y aventurer. Il sera impossible de résister à cet univers - une écoute de ‘Natch’ suffit à s’en persuader - et on n’aura de cesse que l’envie d’y retourner. sideline

Having released the “Collapse Group” EP for the Japanese label Duotone, and his debut album, “The Nineteen Floors” on Canadian label Music Made by People, Medard Fischer releases his second full-length for the respected California label n5MD. Bearing all the trademark qualities you would expect from n5MD, “No Spectre” is more than just another quality melodic electronic album. Initially opening with a short series of wonderfully bassy melodic ambient tracks in the form of “I’m All Vectors”, “Versions” and “Natch”, “No Spectre” begins to hint at hidden talents from its fourth track onwards. The vocal track “The Several Song” features phases of Fischer’s trademark sound with passages of toned down electronics alongside Svitlana’s vocals. “Dead Days” then alludes to a hip-hop influence but maintains its smooth ambience throughout while the interestingly titled “Miss Wet T-shirt Vancouver 2006” introduces an upbeat sense of urgency alongside the familiar crackle of vinyl static. This new found urgency continues throughout “Plays Tim Arndt” before the “Spectres” treats us to a child’s amusing ghost story leading into slightly creepy bass infused rhythms with added spectral whirs. Svitlana returns for “The Past!” which fuses Fischer’s electronics with her ethereal almost folky tones and spoken word accompaniment. The album closes with the 9-minute “All Parallels” which is a warm flowing track with gentle melodies and some glitchy, but unobtrusive, elements. Overall, “No Spectre” is a warm flowing melodic album with layers of accompanying sound and added texture waiting to be discovered.

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