Kostis Kilymis – Bethnal Greener [LP]

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Kostis Kilymis – Bethnal Greener [LP]

12.00 15.00

Label: Rekem Recrds

Format: LP

Year: 2015

The significance of place looms heavily over Bethnal Greener, whch comes as a personalized psychic map of sharp pins and fuzzy boundaries, a sonic realization of the air in a particular room, the the cracks of a familiar sidewalk. At times recalling the frayed, sizzling approach to synthesizer of Thomas Ankersmit, Kilymis unfurls delicate nets of finely pointed peaks, hisses, and pulses. Coils heating up, molecules dancing. On the first side, the four pieces convey an image of parallel editing that firmly harnesses time, until “Your Little Something for the Weekend” sets flame to wick for a steady, closely monitered blaze. The real magic happens on the “The Ghost in the Typewriter (For Leif Elggren)”, a suite of micro-extremes somehow miraculously contained in the vinyl medium, wherein X-Acto sine waves do some impromptu neurosurgery, set against faint washes that sound of not-so-distant airfields (ok, so more likely contact mic’d tower block—says here in the label write-up—can’t win ‘em all). Excellent set of currents that would appeal to the licensed electrician.

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Rekem Records presents the latest release by label producer Kostis Kilymis. Living in London since 2012, Bethnal Greener perfectly documents life in the capital, “this Roman shell”. The possibilities and the impossible, the dirt and the light, the highs and the lows.

‘Bethnal Greener’ showcases his most varied work to date, combing the delicacy and form of his lowercase improvised electronics with the full bodied sonic noise palette found on the 2012 Entr'acte release, More Noise Ahead. ‘Stepney Way’ features static clicks, almost forming a beat but not quite, with discrete sonic elements suggesting a rendering of the industrial buildings of Stepney as grooves on this record. The key to the album could be considered to be ‘The Ghost In The Typewriter (for Leif Elggren)’, encapsulating flickering panned buzzing, obnoxious then subtle sine waves, sculpted feedback, and what could well be the rumblings of a contact mic’d tower block, creating an 12-minute opus that the dedicatee would be proud of.