MKM: JASON KAHN / GÜNTER MÜLLER / NORBERT MÖSLANGteplo_dom
Jason Kahn, Günter Müller and Norbert Möslang, all from Switzerland, comprise MKM trio, spontaneously founded in 2006 in Tokyo during their Japanese tour. They immediately achieved very fine results and collaborate since then. Their sound hovers between the at times harsh rhythmic noise of Norbert Möslang’s cracked everyday electronics and the rich sonorities of Günter Müller’s percussion-based samples and electronics. Jason Kahn’s work on analog synthesizer bridges these two worlds, adding high frequency interference and processed short wave radio input. Mikroton released numerous albums with their participation and “teplo_dom” is their sixth album on our label and third release after “Instants // Paris” released in 2016.Discomfortingly solacing “teplo_dom” works like a treatment in the harshness of contemporary human life, sometimes soothing you with clusters of abstract timbres, sometimes poking you with distorted maelstrom of sound masses. If the tracks recorded in dom which means “home” in Russian, were mixed, “teplo”, in Russian meaning “warmth” or “cosiness”, remained without manipulation and you can hear how the trio builds a foggy psychoacoustic mass that lies between dynamic yet patiently treated drone music and industrial howl.
PHYSICAL | CD
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1. dom_12. teplo3. dom_2
CATALOG: mikroton cd 66FORMAT: CDEDITION: 300RELEASE: April 2018
This is technically the 3rd album by MKM, the acronymic band made up of Günter Müller, Norbert Möslang and Jason Kahn, but these three Swiss artists have a long collaboration history. All three gents recorded a chapter of Müller’s “Signal to Noise” series, they also comprise 3/5 of Signal Quintet (leaving out Tomas Korber and Christian Weber), they’ve broken off into duos and have taken on additional collaborators over the course of more than a decade. The familiarity these folks clearly have with one another explains why “Teplo_Dom” hardly sounds like a group effort at all; rather, one might believe this anxiety-inducing electronic noise was the work of a single person. It’s a unified exhale of sci-fi cough syrup ooze, gooping out into the world like warm alien molasses. “Teplo_Dom” is a three-part slab of deep, menacing music with an intermittenly insistent throb that belies that percussive background of both Müller and Kahn. The first track, “Dom_1”, sets the bar with a staccato rhythm grounding some Tudor-esque unstable bleep. The lengthy middle track, “Teplo”, very slowly ramps up from relatively sparse squeak to a massive short-circuit stormcloud. The final track, “Dom_2”, is the most upfront with its metronomic pulse, surrounding it’s rhythm with harsh feedback blasts before pulling back everything except uncomfortable high tones.