Here we have the
full size version of the 7": a beautiful, clear slab of thick
vinyl without any names save the label info. The 12" is a compilation,
because there are a few style changes. Although probably arriving
on deaf ears, for the most part, Diskono throws subtlety to the
wind, and opts for a straight attack on tendencies they find despicable
in the sound world. Here we have the opportunity to do two things:
1. listen to the sounds, think about them, and then let them go.
2. listen to the sounds and play a guessing game of who could have
made it ("oh, sounds like pimmon, or my cousin Ed, he knows
Diskono maybe he did one too!")
Here Diskono produced thoughtful and technical electronic sounds,
without fronting them with a "so now" name. This is not
throwaway work, despite the lack of brands (however small these
electronica brand names may be in the scope of things).
Side b begins with
a quiet piano, crickets and filter waves piece, and moves into haunted
appliances with jingle bells before finishing with a great drain
and drone work of compelling suspense.
Side a opens with
repeating electronic chirps, moves into harder bits of well timed
cracks and squeals, then a so-so gabba track, and ends on a slower
scrape scape of an elevator in the desert.
Klaus Oldanburg
at the turntables on a rainy winter night in Stirling? A listening
experience with subtle connections, funny cuts, rough mastering
but quite riveting in its fullness and light despite its pessimism.