Chain DLK (.COM)

A set of imaginary wanderings in the outer space with many leaps over “moons” of our system with its load of emotional reverie, which has always inspired mankind seems to be the main theme of this entrancing debut full length album by Kane Ikin, who amalgamates a bunch of sonic tips and tricks and the charm of radio astronomy within his sound. The firsts mainly come with muffled strokes, distended puffs, a massive use of chorus and delay and proper percussive elements (chimes, bells, hang), which amplify the contemplative dimension of his sound, the latters through the retention of that noise, which sounds like tape hisses and echoes radio transmissions from outer space which many astronomers explain by attributing them to interferences of electromagnetic fields and cosmic powders. Kane Ikin doesn’t scrub his sound from this noise particles and I’d say such a stylistical choice distintively marks his sound, which often manages to render the imaginary feeling of an astronaut while watching through the window of a starship. Many moments of the album could recall the sound of other sonic stargazers (Geir Jenssen’s Biosphere or Pete Namlook), but Kane Ikin looks like percolating a high emotionality with its volatile vapours so that you could have the impression he recorded the album through the grabbing by a futuristic recorder on Planet Earth of many transmissions of one take sessions from the orbits of the satellites he mentions for the titles of Sublunar’s tracks or you could just imagine that his sound equipment includes just two powerful radars, one header for cosmos and one headed for his inner universe. “Sublunar” could be considered as a musical essay on how celestial mechanics can influence inner gears.