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REVIEWS
She Bit Me First
Flask Bordon
Here be Dragons
Sunk
False Schematics
Who Are You?
Gin
One of the Last Doctors
Fumble
Lithos
Keweed
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REVIEWS
Pridon
Apnea Eina
Low Impedance Recordings
Posted: Tuesday, April 01, 2008
By: Amy Mauk
Flash Animator / Motion Graphics Slave
By: Amy Mauk
Flash Animator / Motion Graphics Slave
Sweeping pads and subtlety make for a laid-back space voyage.
On his latest release, Pridon (a.k.a. Petros Voudouris) has managed to make an album that is both synthetic and soulful. The usual, electronic suspects of ambient music make appearances, but buzzes and clicks are kept in check by warm bass and smooth pseudo-strings. Drums are frequently a bit cockeyed and off-kilter, making them interesting and surprising in the same way that Timbaland can be on a good day. The result is an album that is mellow without being boring and ambient without eating a hole in one's brain.
Apnea Eina offers some instances of pleasant surprise. At the 1:54 mark in "Here be Dragons," listeners are blindsided by whimsical little bells that eventually morph into computer-like buzzes. The bit of disjointed piano on "Sunk" also undergoes a shift of shape, slowly becoming more and more disjointed. Coupled with the bass, "Sunk" comes off sounding like a soundtrack for a factory that makes tiny toy pianos.
The instances where Voudouris steps off-course are thankfully few. "False Schematics" relies a bit too heavily on drums and pseudo-strings that are too redundant to carry the weight of a five-minute song. "Who Are You?" seems promising, but eventually falls into the common rut of redundant, computerized vocals. Luckily, the stuttering, stilted drums of "Gin" are enough to pull the album out of the rut. Pridon has delivered a solid, if not always thoroughly stimulating, album.
Apnea Eina offers some instances of pleasant surprise. At the 1:54 mark in "Here be Dragons," listeners are blindsided by whimsical little bells that eventually morph into computer-like buzzes. The bit of disjointed piano on "Sunk" also undergoes a shift of shape, slowly becoming more and more disjointed. Coupled with the bass, "Sunk" comes off sounding like a soundtrack for a factory that makes tiny toy pianos.
The instances where Voudouris steps off-course are thankfully few. "False Schematics" relies a bit too heavily on drums and pseudo-strings that are too redundant to carry the weight of a five-minute song. "Who Are You?" seems promising, but eventually falls into the common rut of redundant, computerized vocals. Luckily, the stuttering, stilted drums of "Gin" are enough to pull the album out of the rut. Pridon has delivered a solid, if not always thoroughly stimulating, album.
