First listen: Brett Naucke, ‘building’


First listen: Brett Naucke, ‘building’

Music may not actually have a height, width, or depth, but Brett Naucke does feel three-dimensional. Using synthesizers, live recordings and a variety of other sources, Chicago artists have created vast works of physical space that you can enter and explore. His new album, “The Mansion,” which he started three years ago, and even earlier, is The most spatial work he has ever released. He made seven songs when he grew up in his family’s 100-year home in st. Louis. “I wanted to remind me of the house, what it sounded like, and what happened there,” he told NPR. “I hope it sounds like it’s coming into this place.”

Still, the mansion is not a real audio documentary. This is a freehand work that is as important as Naucke’s subjective memory of his former home and how his ideas evolve and evolve over time, because it involves physical space itself. In the past twenty years, he often dreamed about houses. He wants The Mansion to reflect those surreal experiences, and The way dreams are intertwined with real memories. So he created music, as he put it, “to express my own thoughts about the exaggeration and distortion of the past.”

Brett nock, building.

Mansion appeared on March 9 with Spectrum Spools (physics, number).

The result is a dense, thoughtful piece of instrumental music, a tangible event – a chord, a crunchy beat, an echo of a rattle – naturally mixed with abstract sounds. In “Youth Organ,” repeated notes produce a multi-layered rhythm and then merge into a series of rotating tangents, as if Naucke were walking through the maze of corridors. “Last summer’s birth” began with a small static wash that gradually solidified into a soaring hue, like a creaky staircase to a big mirror. Even if is the most attractive work in this album, distance is no ceiling “buildings” seven minutes of distance, is also dotted with rattled, suggesting that ghost lingering in the empty room.

Although Naucke’s voice was not easily recognizable, he deftly avoided letting his music come. The Mansion has a distinctly real world vibe, with Naucke playing his own piano, TALsounds and Good Willsmith’s Natalie Chami and Matchess’s Whitney Johnson viola and other acoustic instruments that blend his synthesizer. Both partners as one of the most influential songs in the album “mansion, no clock” has made a contribution, in this album, stippling, sounds like the wind blowing through the old wall. The track ends with Johnson’s spicy stress, evoking unforgettable memories that people can’t recall.

A reexamination of The Mansion’s songs is a similar experience, because each listening reveals something new and restores The view of Naucke’s wordless narrative. This is similar to the way that memory deforms when recalled and imagined, bringing new thoughts and emotions. In this sense, The Mansion recalled The memory of some of The best instrumental music music, such as The beach washed Fennesz endless summer reflection or James Ferarro attenuation of remote virtual technology culture. Naucke is layered on top of each other, and does not produce a blur that might come from the n-generation copy. The sounds and ideas that permeate through the building are vivid, resonating like snapshots in your mind.


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