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You don’t must be a mathematician to know that two is a couple of. This axiom applies to the music on Ghosted II. 2022’s Ghosted, the primary recording by Oren Ambarchi, Johan Berthling and Andreas Werliin, was a research of rhythm suspended earlier than texture. On every of its 4 numbered tracks, the trio established a groove, which permutated minimally whereas Ambarchi’s un-guitar-like guitar sounds oozed up from the underside of the combination. This time, the variety of tracks is similar, however their designations are spelled out in Swedish reasonably than written as Roman numerals, which displays the nation of origin of the opposite two members of the group.
However every factor of every monitor initiatives from the audio system with extra energy and presence. Berthling holds the middle like a sonic Maginot line, plucking figures on both an acoustic or electrical instrument (one per monitor, naturally) that merely is not going to be budged. If he provides even one word to his sample, you sense it such as you’d sense the Earth shifting on its axis. Since there’s no going by him, Werliin drums round him, spinning elaborate variations on that very same groove, after which, for good measure, including some hand drums. Tune into him and also you may fail to spot the remainder of the music, so involving are his rhythmic permutations.
As soon as extra, Ambarchi feeds his guitar by a sign chain that yields sounds extra like a Hammond organ or a synthesizer. However there’s extra nuance to the surfaces and interweaving of his billowing partitions of tone and thickets of flicker, and he even offers in to the temptation to let his guitar be a guitar, stacking layer upon layer of strummed string sounds on “Fyra” (that’s “IIII” for you non-Swedes). Converse not of sophomore slumps; Ghosted II exceeds its already swell predecessor in almost each approach. [Drag City]
—Invoice Meyer
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