Cio D'Or - Die Faser

CIO D’OR - DIE FASER (Prologue)

Cio Dorbandt’s new album ‘Die Faser’ is a first for Prologue, a label that has made its name releasing high-quality EPs from the likes of Donato Dozzy and others.  It is, without a doubt, an enviable debut. 

D’or’s music will almost certainly get categorized as ‘minimal,’ but this adjective is perhaps a bit misleading.  While she occupies a middle ground of sorts between the dubby atmospherics of the Chain Reaction faithful and the round kicks and angular sounds of the Berghain set, ‘Die Faser’ also explores some roads less well traveled.  

The album begins with the ambient “Zellulose Wind (Intro),” whose subtle Rhodes melody emerges to a backdrop of soft pads and industrial noise.   The following track, “Goldbrokat,” illustrates D’or’s strength, namely her ability to draw on diverse source material to present an original take on then genre.  “Goldbrokat” opens with metallic textures reminiscent of mid-century electro-acoustic and tape music.  These, in turn, give way to round kicks and a monotonic eighth-note bass line reminiscent of the Orb or Seefeel, which quite smartly sets the stage for the return of the pads and Rhodes melody from “Zellulose Wind.”  The effect is sublime and deeply gratifying.  

On “Mohair (The True Blue)” explores more electro-acoustic territory, adding oscillating sine waves and phasing pulses a la Steve Reich to the mix, punctuated by an increasingly frantic Shephard tone cresendo.  “Brokat,” one of the few genuinely minimalist tracks on the album, is a tasteful dub of “Goldbrokat,” channelling Monolake without losing sight of her own acoustic vision.  “Seide (Tränensalz)” is another beautiful, beatless offering. 

Unfortunately, all good things must come to an end, and unfortunately the album doesn’t offer much beyond these early highlights. “Organza (Transparent Dub),” “Pailetten” and “Pailetten (Bonbonus)” are more rehashes of “Goldbrokat,” something that doesn’t work so well the second, third or fourth time.  “Samt” adds new melodic sounds and textures, but by this point D’or’s formula of metallic clangs over kicks and eight note bass simply does not sound fresh or exciting.  She has, to put it mildly, gone to the well one too many times.   

Thankfully “Cotton (The Petite Geisha)” breaks up this string of uninspired retreads with a gorgeous, atmospheric melody.  On “Wildseide,” D’or displays some range with a positively thrilling track that sounds like it was tailor-made for the dancefloor.

On “Die Faser” D’or delivers some interesting takes on the minimal genre.  At the same time, while her insistence on consistent sound architecture and recurring leitmotifs add character early on, the repetition grows a bit weary as the album progresses. 

Gustav Brown

Comments

[petesrdic]

Sadly all albums have to be "genre'ised" - my music database is no different but it would be a shame if people lightly dismiss this as just another tired minimal release.
It's actually anything but. There's a lot going on and for me it's a home listening album that works beautifully. I've spent quite a few hours reclined on my sofa, head positioned in my speakers sweet spot, absorbing this album. It's an emotional moody release and the more ambient tracks are just glorious to drift off & bliss out to. I only wish they were longer.
Even better, is when the remixes (and there are some crackers - Sleeparchive case in point, not to mention DD) are combined with this, for one long session of being transported to varying levels, in an atmosphere of lighter then denser, swirling textures.
Cio gold.