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Every once in a while music springs up out of nowhere, completely
surprising you, and in the process has you wondering why more people have not heard the artist in question. It doesn't happen
often--and it certainly hadn't happened to me in a while--until I heard this, the debut ep by Miles Tilmann.
Underland
occupies a precarious position between pure ambient driftwork and post-Warp records listening techno. This is a tough fence
to sit upon, but Tilmann maintains poise throughout the ep length. This is perhaps because Tilmann is unafraid to create beatless
atmospheres as well as near-techno beatwork, often on the same track. I sense that Tilmann's tastes, though I don't know for
sure, are similarly eclectic--certainly increasing the level of musical variety on Underland.
Track one, "Unfold,"
does just that by beginning with spacious, warm synth that swells deeply. A cavernous feeling pervades as the sounds ebb and
flow, decaying softly. Startlingly the kick drum comes in, unfolding this track into a strange hybrid of Basic Channel-style
house and shimmering ambient washes. This is a powerful opening statement, which does not let up through the remaining seven
tracks. "Letting" has a symphonic air, with synth strings beautifully cascading with a fine attention to space. A sweet, strong
minute and twenty seconds. Next, "Underland," allows us to bring in the inevitable Boards of Canada comparison. The beats
and buildup of this track very nearly approach the technique of BoC--close enough to operate as pastiche, right down to the
vocalizations. Though BoC trailblazed this style, Tilmann carries it off so as to make a track nearly indistinguishable from
much on Music Has the Right To Children. Perhaps this is the weakest cut on the ep, due to its necessarily derivative
nature--however, weak for Tilmann appears to be very strong indeed. "Warm/Cool" follows as another vignette of shifting ambient
tones, altogether pleasant, if not totally memorable. "Sunday" blasts you out of your reverie with an incredible, short, slice
of ambient techno. This approaches church-like chilled techno-mysticism, so pretty, measured, and strong. A highlight. Next
is "Mother/Father" which could be placed alongside tracks on Aphex Twin's first Ambient Works volume: a sweet melody,
great beats, and fine synth ambience. Track seven, "Memory 4" is thus located in the same regions as Aphex Twin's Selected
Ambient Works II: chills-inducing synth washes that you wish would last forever. Finally, "Derail" is a bonafide downtempo
techno anthem, and unquestionably the best track on the ep. All the tropes are here: melodies, kick-ass beats, muted urban
funk, marvelous low end, and head-nodding listenability.
Tilmann's Underland says "Hey, I can do all of the
stuff that made you fall in love with Warp-style listening techno and all in the space of an ep! Just wait until you see what
I can do on a full length, now that I've gotten all that history out of the way." While not trendsetting by any stretch of
the word, Tilmann's ep is one fantastic piece of work, which leaves me slavering for more. This is proof that modern electronic
music can recall its past and present it in fresh, vibrant color without resorting to parody or snobbery. This is self-assured,
unpretentious work that restores all the faith you had in this type of music in the first place. Let's hope to hear more from
Tilmann, and soon.
Available on Sub:marine records.
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