Cio D'Or - All in All - Semantica 73
Wed 17 Jun 15
Cologne’s Cio D’Or, techno minimalist and accomplished producer, has arranged an album of mechanical sounds for Semantica.
The cinematic introduction track segues into ‘Tomorrow was Yesterday,’ dark and moody with foghorn bass and a radioactive, clicking pulse. The track expands into an uplifting string euphoria before breaking back down into the depths.
‘Now and Then’ builds with soft strings and laconic piano, suffused with the Geiger clicks from earlier. A chill out track veering towards the darker side of sinister. A quick breakdown presents itself, driving forward into delayed clicks and solid bumps from the bass drum.
‘Now and Ever’ blends in from the previous track. The rhythm rolls on with a steady 3 step heartbeat pattern. The ephemeral darkness of the bassline maintains, with additional grand piano which counterpoints the wickedness of the track. A subtle piano melody pervades the breathy textures.
Cio D’Or understands the subtleties of techno music, which is squarely demonstrated by the following Roman numeral entitled tracks:
The ghostly bleeps of ‘XXXIII’ morph in and out of each other, moving atop a subdued kick pattern and nicely reverberating hi hat sweeps. The evolution of the track is spine tingling, a really effective building tool.
‘XI’ begins with sub-aquatic tones in deep conversation. A sharp click pattern introduces a well-rounded kick drum on the low end. Hisses and cracks layer into the amalgam. The rhythm shifts into a staccato sliding style with an added ping, creating a subtle jackin’ movement.
There is Mike Parker style resonance on ‘XLIV for Mike,’ a creaking expanding and contracting synth line grinds atop heavy drum and locomotive mid-range drums. There are soft yelps of synth, cloaked in reverb, which follow the sine wave pattern of oscillation. I like Mike Parker’s evolutionary, organic techno genus. ‘XLiV’ emulates it well, being in a similar style and proffered respect to a contemporary artist.
‘XXII’ comes in with the reverb and a ‘thud thud’ of kick that blends with a warm stream of bass weight. Rising tones build into a crescendo of head-spinning minstrelsy.
‘Hecto’ has stand out drums and a brooding bassline. The reverberating hi hats sit nicely atop a pitch bending, raw and sonorous string section. A clattering sound of paper trays rattles along with the half stepping drums.
‘Yotta’ is lively on the dub chords. Some of Mike Parker’s organism remains embedded deeply at the core of the track, which rolls along with deep impact. The hi hats on this one are more pronounced, formic and sharper on the aurals.
‘Yocta’ is deep and subversive. The soft thud of bass drums are compounded with a brooding bassline and the clang of metal from the near distance.
‘Zepto’ is a half stepping scuttle through the territories of the previous tracks. Watery bloops and scratchy drum textures woven within dubbed chords.
Review for CGNY by Alastair Schwarz.
Reviewed using Simple Review