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CD Feature/ Earzumba: "simulando un refugio"

img  Tobias

The inherent danger of working on a „continous career” is stagnation. And if there is one thing Christian Dergarabedian hates, it must be standing still. Since 1991, he has been active in the most diverse formations and under many different monikers, including band such as “Nuegado de Serpientes” or “Reynols” as well as various solo pseudonyms. Each incarnation has brought fresh impetus and another perspective, as if he were not merely shedding an old name and gaining a new one, but turning into someone else for real. His latest project, Earzumba, proves this point once again.

Truly, you could easily mistake “simulando un refugio” for one those awe-inspiring debuts, which leave you wondering, where this artist had been hiding for so long. On the one hand, there is the unrestrained and almost naive way of treating sound as a clay for composing intense, three-dimensional natural sceneries. And on the other, there is the precise use of colour and canvas, reveiling a long-grown experience and a refined sense for proportions – if insutrial had not contented itself, in many respects, to mere copying and pasting, it might have sounded like this today: Dense collages of field recordings, noise, cosmic and psychedelic perturbances, thick layers of choral voices and transcendent harmonics, all connected by a mysteriously curving suspension arch. What sounds like a random association trip in fact turns out to be a minutely planned journey. Everything interleaves on “simulando un refugio”: The tracks, the sounds, the different themes and the various states of your mind, as it is being taken from peaceful moments of weightless floating to seeking shelter from harsh, high-pitched soughs of white noise winds. Many-a-times, it is not too far from the early Krautrock experiments, when drug-drenched art students abused analogue synthesizers, evoking nightmarishly howling, bubbling, whizzing and fizzling rantings of a menacingly organic nature. It should come as no surprise then, that this is not the result of endless software manipulations, but in fact the aural debris culled from solitary jam sessions involving instruments such as the theremin, guitars, percussions, flutes and even a fender rhodes.

There is not a single melody to be found among these just over 35 minutes, or if there is, we can’t discern it. But there are short passages, when the guitars rise above the clouds of noise and start playing sweet chords, easing the tension for just a moment and then letting the listener go again, immersing him in the sea of endless brainstorming. This ebb and tide makes the ride so rich and exciting. It is not that we had any objections against Christian’s previous projects – but we’re glad he has moved on once again.

By Tobias Fischer

Homepage: Earzumba
Homepage: Old Gold Records

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