Ethereal (FR)

Fourth album for Shuttle358, the third on 12k (another being appeared on Mille Plateaux) and, once again, the musician is perfectly in his place on the new Yorkean label, developing one electronica-ambient minimalist, made tablecloths and microphone-glitchs. Setting up accessible and cordial textures, Dan Abrams rather skilfully manages to position just at the border between sound space a little too filled and musical examination, so that each element seems to position ideally (its traditional micro-electronics with that being connected with a etouffé copper), without the impression of a overflow being had, nor of having to tighten the ear to perceive a specific sonority. Same manner, the music of Shuttle358 is at the point of inflection between introspection and dumbness, sufficiently interior without being closed again on itself, and between movement indiscontinu of the tablecloths and stability of those, making last each its juste time that it is necessary, while making it possible to the listener to stick to it. Not very easy, this work of equilibrist, when it is well carried out (and it is the case, here), gives place to very good discs. This one formed part of these (which more is, it lasts cinquante-quatre minutes, that is to say one impeccable duration, neither too short, nor too long), even if its listening comes to upset our certainty on the matter (the label 12k seeming definitely to have been made the cantor of this electronica minimalist). Often melancholic person (Walk), but also knowing to be done more optimistic (the rhythmic one and the general environment of “Duh”, the luminosity of the vibraphone of “Dead Leaves”, for example), the music of Shuttle358 testifies especially to a strong evocative dimension, underlined by a luxurious digipack, proposer of many photographs carried out per Dan Abrams itself which announces besides that it will proceed in this way, envisaging to expose its photographic work in a gallery. Consequently, it does not remain any more with the listener but to connect his helmet on its turntable, to be given up with these textures and to let its spirit rove until arriving at the end of Chessa and to realize that Dan Abrams is also perfectly at ease in a title incorporating guitar, cords and battery in a kind of faint électronisé post-rock’n’roll of the most beautiful effect. François Bousquet