Mulholland Drive, 1984

by Anders Brørby

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Dotflac Dark and surrealist, Mulholland Drive, 1984 sounds like the direct sequel of the dystopian Nihil.

Anders Brørby expresses an existential determinism without giving in to fatality, he certainly yields towards nostalgia but also considers the foreseeable futures, he likes the blackness and doesn't forget it has no value without its antagonist.

More volatile and ephemereal than Nihil, this album still reaches the same intentions : the duality of existence invariably outlives its own extinction. Favorite track: Persuasion of Existence.
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    Limited edition white tape (50 hand-numbered copies), professional duplication. C50. Hand-stamped ("Hylé" logo in black). Artwork printed on 250g paper.

    Includes unlimited streaming of Mulholland Drive, 1984 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Hylé Tapes 033 : "Mulholland Drive, 1984" by Anders Brørby

Side A

Mulholland Drive, 1978
Black Room
Mulholland Drive, 1984
Persuasion of Existence

Side B:

Room With a Different View
The Unhappiest Places on Earth
A Sudden Sense of Loss
Deconstruction of Mirages
Handheld Weapon

"Mulholland Drive, 1984" is a continuation of the dark ambient and abstract soundscapes from previous records “Nihil” and “Music For Imaginary Scenarios” from Oslo-based sound artist and composer Anders Brørby. Often working in a similar musical direction as fellow Norwegian Helge Sten (aka Deathprod) and the likes of Fennesz, Tim Hecker and William Basinski, Brørby creates atmospheric soundpaintings from processed field recordings, granular synth-works, loops and improvised laptop sessions. “Mulholland Drive, 1984” is very much a cinematic album, and works as the soundtrack for imaginary scenes and images taking place inside the listeners head. As the title suggests, these images often draw inspiration from the abstract and sinister corners of the world of David Lynch, as well as other masters of atmospheric tension, such as Dario Argento, Werner Herzog, Pier Pasolini and other influences for the composer."

Written, recorded and produced by Anders Brørby
Mastered by Jon Du at Lonely God Records, Taipei
Artwork by Anders Brørby


"Anders Brørby is one those really few artists, whose music “speaks” directly to the heart. Although, his music is classified as “neo-classical” or “contemporary”, we would rather say that his music is created for causing emotion waves. Beyond labels, beyond tagging. His last year’s offering on Gizeh Records, ‘Nihil’, was among the most outstanding albums of 2016. And there you have him. Make sure you read this lively interview, to learn more about this great Norwegian… Ladies & Gents, Mr. Anders Brørby!

Hi Anders. Let’s kick off this one! How did your involvement with music creation start?

I`ve always loved music and it`s always been a very important thing in my life. Ever since I was a little kid I was recording myself on tapes, singing and humming over tracks by the likes of Michael Jackson, Paul McCartney etc, and making my own versions of those albums. I come from a family where music was everywhere. My parents, like their parents before them, have been singing in choirs since they were young, and my grand-grandfather was a conductor and composer. I didn´t buy a guitar until I was 17 or something like that, but as soon as I did, I started making songs and started getting serious about the recording process. Then I started a progressive rock band (Radiant Frequency) with a couple of friends in 2004, and had a lot of fun with that. We released a couple of albums and did some really fun gigs, but after a while I really felt an urge to record other kinds of music, and to be able to do stuff on my own, without the band-setting where everyone had to agree on everything, which can be extremely frustrating and damaging for the creative spark. At least for me.

Would you be able to provide us with a brief description of your music?

Most of the music that I´ve been making for the last couple of years are basically soundtracks for imaginary scenarios and visions that probably only exist in my head. A lot of it comes from dreams. To me, music is all about capturing a certain feeling. It has to make me feel something strong. For me, these feelings often come from things that many consider “dark” or “bleak”. I love experimenting with combinations of sounds, and to experience how different those sounds makes me feel in various combinations. When it clicks it feels really good. Now and then I just sit down with my shitty acoustic guitar as well, and I had a phase where I tried to make a “progressive synth-pop” album (‘Nocturnal Phases’).

I simply cannot overcome the breathtaking ‘From The Window Above The Lake’ from one of last year’s best albums ‘Nihil’ (personal & site). How was this opus “born”?

Thank you! That’s really nice to hear. That track was written quite late in the making of the ‘Nihil’ record, and when I had the basics down, I knew that it could be something special. To me, that track became sort of the pulse of that record. The climax. I spent lots of time doing these really small adjustments to it, like I was doing some surgery and had to be really careful not to fuck it up. I think the main theme was a patch I made from some short sample of some random sound. I just experimented with this grain-thing in Reaktor for a while. Many of the pad-sounds on that record were made like that. Timestretching and processing the shit out of some really short, simple sounds that I either found or that I made out of field recordings I did on my portable recorder. I had this scene in my head, a dark lake with moonlight above, and this really old house in front of it. And a woman staring out from above the lake from a window. Pretty much the title, really! Maybe she was waiting for something. A lost lover, the end of the world. To me it´s both a peaceful and somewhat violent scenario and I wanted the track to feel like that.

Would you like to share some words about the limited edition cassette for ‘Mulholland Drive, 1984’? Why limited? Why tape?

The label that released that record, Hylè Tapes, was a new discovery for me, and I really loved the stuff on there, both musically and the aesthetics. When they wanted to release it, it just felt like a perfect fit. Richard Frances who runs the label is a great guy and artist, and I love tapes just like him. It feels like a good choice for putting out this kind of music. Producing vinyl costs a lot, and for an experimental label, when releasing a tape, you get that analogue and “true” feel, and really nice artifacts without spending silly amounts of money. For small, experimental labels it seems like a perfect match. Personally I love all kinds of physical formats. Cd, tape and vinyl. It´s all good. And all the people I have been involved with when releasing music has been lovely and really kind. They´re doing it purely out of passion, which is exactly why I make the music.

The last three years you have been over-productive, without losing on quality! How do you manage this then?

I get so many ideas all the time, and I have to put those ideas down somehow. I hear something in my head, and have to recapture it as soon as I can. Then that stuff probably ends up as something entirely different, and I continue to search for what I initially thought of, while getting worked up over something new that came out of it. Then before actually realizing it, I have a couple of different projects in the works, and I like working with different projects simultaneously because then I can just switch over to something else if whatever i´m working on gets boring. In periods it can be quite stressful too, but then I quickly realize that I do these things because it´s some sort of therapy to me. Sometimes it goes a bit far, and I get completely lost in a project. Not just when working on it, but 24/7. Then I just have to get it all down before I can focus on anything else. I do get better at that these days. It’s good to have different projects, and not go completely mental on one project. I would probably go mental if I didn´t get to mess around on my computer and with my stuff as soon as these new ideas pops into my head, but its good to have periods away from all of it too.

Your music contains a strong cinematic feel. Would you be composing music for films?

Absolutely. I have been working a little bit on some documentaries and video-articles, and also doing some work for a movie that a friend of mine is making. I´m currently in the beginning of making music for an American horror/sci-fi movie, but it’s still very new so I don´t know too much about that one yet. I´d love to do more composing for films. It´s really exciting, and much of my music is made as compositions for imaginary films and scenarios anyway, so I feel that it´s already what I spend a lot of time doing. The main difference between making music for imaginary scenes and for actual film is when there´s actual footage in front of it, the music must be more subtle. It cannot take the center stage in the same way as when its only sound. That`s a cool challenge. It needs to be right there, but still in the background.

Music specialists use the title “new music” . What do you think about it? Is it really new music?

I haven`t really heard that expression being used too much here in Norway. I notice that many use the term “neo-classical” for my music though. I`m not interested in labeling my music in a specific genre. It`s all just sounds being put together. When hearing a term like “new music” I don`t really get any specific idea about what that means, and I don`t even remember the last time I heard a record that gave me a “new” feeling as a listener. Maybe the first time I heard Autechre. It`s like all those music discussions where people disagree about genres, and also need to label stuff as a specific thing. “Oh, this is sound art, and this is music”. Why does it have to be a difference? It`s all just sounds. In that sense I guess “new music” is as good as labeling gets.

Listening to your music, classical music should be among your influences. Correct?

Yeah, absolutely. I guess that comes from my parents. I didn`t really get into classical until my twenties, but it was always around when I was a kid. I think that’s why progressive rock became my thing. The structures and build-ups in much of that stuff felt very right for me, and maybe that was because my brain was used to this classical input, even though I ignored it when I was young. Nowadays it`s more about the sound of classical recordings that excites me. The atmosphere. Wagner is very important in that sense. I love the quiet passages and the build-ups. Not so much the opera vocals.

Ambient and new classical music have gained a significant fanbase in underground circles. Do you believe they are the evolution of classical music?

Yeah, I guess it is in many ways. People always look back and try to build on stuff they enjoy or admire. I think it`s like that with all sorts of art-forms, probably even without the artist thinking about it too much. As I said, I don`t think much about labeling music, neither as a listener nor as a composer. And I don`t know what that kind of musical evolution means, if anything at all. I think music in general has been of the same level of quality for the last 10 000 years. It`s probably all a big circle in a way. At least it feels like it has been like that for a long period of time. Personally, it feels strange to think of my music as too closely related to classical music, since I`m not classically trained, and my music comes only from feeling, not from the rulebooks. I probably break every rule in the music production-book, but then again I don`t, because I never learned much of those rules in the first place. For better and worse, I guess.

How did the collaboration for ‘Nihil’ album with Gizeh Records come about? Are you satisfied?

Very satisfied, yeah. That record was my first full instrumental album, and probably the most pure and structured thing I had done at that point. I remember ordering an Aidan Baker record from them, and got this handwritten “thank you” note when receiving the album. That spoke volumes in terms of how much they care about their listeners and supporters. I sent them a track later (I think it was an unfinished version of ‘From The Window Above The Lake’), and they wanted to release the album, which of course made me very happy. It`s so much great stuff on there, and Richard Knox (who runs the label) is a great guy. I was very much a fan of his own projects on there, as well as the likes of Aidan Baker. It felt like a great match for that record, and I`m grateful that they felt the same. I did put so much into that record, and i`m very proud of it. Parts of it was actually recorded when I was on a vacation in Greece. I sat in my hotel room during the nights with my headphones on, making sounds and melodies, while sitting above over a beautiful ocean. I know for certain that the melody for ‘You Have Made Me No Longer Afraid Of Death’ was written and recorded in that hotel room.

High Fidelity time! Which are your favorite authors and films of all time?

I`m quite a “list-freak”, but I`ll keep it clean and simple. Five for each, no specific order.


William S. Burroughs

Charles Bukowski

Arto Paasilinna

Haruki Murakami

Knut Hamsun



“Wild At Heart”


“Dawn Of The Dead” (the 1978 original of course, not the remake)

“Mulholland Drive” (well, of course..)

What’s next for you Anders?

I recently finished a collaboration-record with my friend Rune Clausen (aka: Strawberry King). We`ve been working on that one for a couple of years. It`s a record inspired by the mystic and “evil” Scandinavian nature of the 1700`s and the art of Norwegian artist Theodor Kittelsen, who visualized that scenery in such an awesome way, and whom we both love. We recorded lots of sounds from the forests here in Norway. Birds and animals all over the place, mixed with electronics and acoustic stuff. I like it a lot. Very ambient, yet very many different layers and styles. It`s sort of a black metal record, except there`s no growling vocals, no fuzz-guitars and no drums. Quite pure. The famous Norwegian comedian and actor Linn Skåber is on there too, talking about owls. That was so much fun. Also, I`ve started going through some acoustic recordings, and i`m trying to see if I can make some crossover thing between electronic pieces and these lo-fi acoustic “bedroom recordings” I have, which consists of only shitty acoustic guitar recordings and vocals. Maybe it will work.

My friend and guitarist in my old band Radiant Frequency, Ola Vaage Wang and I have a plan to record some stuff in this old, awesome room here in Oslo. It’s a place called Vigelandmauseleet. The acoustics in there is spetacular. I guess it will be a minimalistic guitar/electronics improv-thing, where the sound of that room will be the most Important “instrument”.

Every now and then I also mess around with a pure noise-project. If I ever get around to finish it, it will be called ‘All I Want For Christmas Is Faces Of Death I-IV’ or some stupid shit like that. It`s a nice thing to work on sometimes, as the idea is so simple. I want to make an aural version of a gore-splatter flick. I want the music to make you feel as if you`re watching a movie like that. I want to capture some very bad vibes on that one. Maybe it`s very stupid. I don`t know. And I`m constantly both making beats and jams on my computer, as well as searching for the perfect sounds for a pure, minimalistic dark-ambient record. I want to make what for me would be the ultimate dark-ambient record. No fucking around, just pure sound.

Photo credits: Rune Clausen

***Also published on Recordisc wordpress."

Christos Doukakis – John Pallas


Anders Brørby – Mulholland Drive, 1984
5.22.17 by Ryan Durfee

"Released by the always excellent Hylé Tapes in a now sold out edition of 50 copies, Anders Brørby‘s “Mulholland Drive, 1984″ is a perfect album for the late spring, with it’s ominous tones bringing to mind mist enshrouded forests and decaying cities. The title of course is a David Lynch reference, something you can hear that in the DNA of the album, but what this cassette most brings to my mind is J.G. Ballard’s The Drowned World. I can picture the second track, “Black Room,” playing as the men touch down in the deep jungle, it’s watery tones mirroring the submerged landscape. Another choice cut is the six and a half minute “Persuasion of Existence.” Clattering accents reflect the unease felt by Dr. Kerans while trying to navigate the emotional malaise brought on by the humid jungle – And maybe a tinge of Tim Hecker.

One of the few missteps on an otherwise excellent album would be “Defeat.” While still a good song, it throws off the smooth flow of the album with the vocals. A flow Anders immediately brings back with the haunting synths of “Room With A Different View,” soothing as you begin to formulate a way to escape from the waterlogged city. In what will most likely end up as a personal favorite from this tape “A Sudden Sense Of Loss” incorporates some Angelo Badalamenti-esque horns to augment Anders’ crackling, seasick background sounds. Listeners are left on an unsettling note, wanting to hear his project unfurl. I for one can’t wait to see what Brørby does next.

Cop a digital version of “Mulholland Drive, 1984″ here, and scope the usual suspects for a analog version to pop up."


" I mean of course the first thing you’re going to think of is David Lynch. His masterful mind-scrambler Mulholland Drive launched (probably) a thousand cinematically inclined nightmarish dark ambient records. Lynch himself dabbles in music, and it sounds as otherworldly as you would expect. If there’s one thing you can pin on a David Lynch film is that it’s going to be saturated in mood. Where does the story go, where does it take us? Doesn’t matter. Serve the mood.

Norwegian artist Anders Brørby is a student of the mood. He’s a slatherer of synths, a maestro of mise en scène, taking cues not only from Lynch but also from Argento, Wenders, and Pasolini. He crafts atmospheric homages to place, and you can’t help but be enveloped by them. In musical circles he’s clearly influenced by (*promo copy check*) Fennesz, Tim Hecker, and William Basinski, as his compositions crackle, hiss, and pulse with tactile sonics. He succeeds by removing you as a listener from your surroundings and creating an entire new, weird world in which to place you. It just so happens that the new world is actually one that has already existed, a repurposed moonlit night among the Hollywood Hills.

Mulholland Drive, 1984 is steeped in magic and mystery, as is likely obvious from the descriptive text you’ve already written. But it’s impossible for me to do it justice – the amount of words I would have to type to remotely connect to the album’s dense aura would fill a novel, and if I were writing novels, I wouldn’t be slaving over music. But hey, I like slaving over music, so we’re all in the same boat – it’s not a yacht or anything, but it’ll do. People like Anders Brørby make the review game worthwhile. And back to his tape, unpacking each track is an overwhelmingly enjoyable task, one that’s as satisfactory at minute one as it is at minute fifty.

Is Mulholland Drive, 1984 an homage, then, to Lynch’s film? Not directly, but certainly in spirit. It could easily serve as an alternate soundtrack to the surreal creepings that the film is famous for. And it doesn’t stay in one place, either, as horns are introduced in “A Sudden Sense of Loss” and otherworldly waveforms flit through “Deconstruction of Mirages.” Like Lynch, Brørby manages to surprise, injecting the unexpected into his work as it progresses. It’s the mark of an artist in complete control of his medium."

--Ryan Masteller


"2016 was a prolific year for Anders Brørby, who began the year with Nihil (one of our Top Ten Drone Albums of 2016), followed it up with a split release on Land Animal Tapes, and topped off the year with this pair of releases on Hyle Tapes and Fort Evil Fruit. The latter contains a surprising sonic shift that suggests a new direction for 2017.

Fans of David Lynch will be enamored with Mulholland Drive, 1984, as the mood and menace translate intact. More than an homage to that famed film (released in 2001), the tape honors the cinematic surreal in all its forms, melding the title to Orwell’s novel and the sound to everything from Kreng to John Carpenter. Within only seconds, clouds of drone enter like black dogs, chased by sheets of precipitation and creak. Traffic races through the puddles, strange creatures bark warnings, and the sun never breaks through. The listening experience is unnerving and yet oddly familiar, like hints of a recovered traumatic memory.

The album grows more dramatic as it progresses, with only one misstep; the singing on “Defeat”. (Yes, we do remember the singing in Mulholland Drive.) The voice breaks the mood, and afterwards, it takes a while to recover for the album to recover. But this distraction can be overlooked, as the remainder of the set stays strong and sinister, veering from haunted ballroom (“The Unhappiest Places on Earth”) to black and white noir (“A Sudden Sense of Loss”). Even on the last track, the rain continues to fall.

Now keep the mood and the menace, but forget everything else you think you know about Brørby’s sound. Phoenix Down is a full left turn, through the barrier and down the rocks. On this tape, Brørby shifts from the cinematic gothic to the factory industrial, adding all manner of surprising beats, taking in influences as disparate as IDM and nu skool breaks. The first beat is the most surprising, of course, but after that the artist continues to investigate new territories, operating with the same sonic curiosity as Roly Porter and the Shape Worship crew. Fort Evil Music calls it “rave music for people who don’t go out,” but we must disagree; this would make incredible club music, albeit not in a mainstream setting. The percussive “Perfume Breath” is only the first taste. “Stab Path Meta Girls” bleeds old school industrial, replete with clanks, repetitive structures and feminine sighs. “Murder” turns wonky midway with the words “archangels and antichrists,” toppling into a sci-fi nightmare. But the most ferocious piece makes no play for adoration; “Bloodsport” is three minutes of bludgeoning beats and buried yelps, receding into abrasive interplay. Front 242 would be proud.

The cover is particularly alluring, suggesting hands about to clap (but unable to do so, having been amputated); raised in plea or euphoria. And behind them, something threatening and red: a spool, a totem, a broken bandage? Once again, Brørby (who painted the image) celebrates the surreal. We’re excited to see where he will head next, down the red brick road to unknown palaces and kings. (Richard Allen)"


"2016 a été pour le norvégien Anders Brørby une année de frénésie créative, dont j’aurai surtout retenu le Nihil paru chez les positivables Gizeh Records, album de forts contrastes tant sonores qu’émotionnels. Et si cette sortie vous a plu, vous serez comme moi assez heureux de profiter de Mulholland Drive, 1984, qui semble s’inscrire dans les mêmes référentiels acoustiques et cinématographiques, sans pour autant tomber dans la redite facile (faut pas déconner). Il s’agirait plutôt d’un bilan à court terme des séquelles laissées par Nihil, et de sa route cathartique aboutissant à une auto-destruction synonyme de renaissance ; que trouve-t-on après l’effondrement de sa propre existence ?

e ne vous ferai pas l’affront de vous expliquer l’origine du titre de cet album, dont on sent les influences lynchiennes dans chacun de ses interstices irréguliers. Dans sa narration, Nihil était d’ailleurs probablement déjà influencé par le réalisateur (et pas que, comme on en a déjà causé avec Factory Photographs il y a peu de temps) et son univers sombre et surréaliste, et il n’est pas étonnant de dégager dans sa suite spirituelle les mêmes traits. Cependant, là où les compositions étaient incisives et très frontales en mars, elles semblent dans Mulholland Drive, 1984 plus volatiles et éphémères, comme si elles ne réussissaient pas à s’accrocher à quelque relief pour s’y planter et recommencer un énième cycle au goût martial formé par ces deux albums. Les dix mouvements évoluent ici dans un lieu à pression négative, où les résurgences d’un monde différent et pourtant familier surgissent brièvement et chaotiquement à travers un épais brouillard primordial ; les immenses parois de métal liquide qui enveloppent ce lieu oscillent lentement en réponse aux drones épars que l’on croisera sur notre route, et on flottera en état de semi-conscience en leur centre habité par un embryon de monde totipotent, qui attend seulement qu’on lui dise quel chemin emprunter pour se différencier.

Et c’est dans cette mise en scène abstraite et ralentie que l’esprit voguera, que les sens anesthésiés tenteront possiblement d’imprégner le paysage vierge qui leur est offert du romantisme noir transpirant des morceaux, particulièrement palpable lorsqu’une trompette ou un saxophone vaporeux s’inviteront dans un A Sudden Sense of Loss ou autre Handheld Weapon, aux furieux airs de dernier slow avant sa propre extinction dans une nuit pluvieuse. Les quatre premières pistes se poseront là comme des monolithes aux lentes respirations réverbérées dans les abysses, imposant à l’ensemble une esthétique en teintes de gris et au grain marqué qui se nourrit de réminiscences puisées dans la précédente itération déchue de notre univers. Une tension éthérée infiltre les moindres fractures provoquées par les glitches, et nous projettera sans forcer dans la solitude d’un bord de route à fréquentation variable, à peine dérangée par des échos distants de mélodies et de synthèse granulaire. Déjà-vus industriels et post-post-apo entrent en collision avec des fragments aléatoires de temps et d’espace dans des pièces au design sonore toujours impeccable, et permettront même momentanément de dégager assez de poussière de nos yeux pour deviner la lumière dans Persuasion of Existence, ou le singulier Defeat et son duo voix / vibraphone aux airs de phare d’espérance inattendu dans un disque sévèrement incliné vers le dark ambient.

Dans Mulholland Drive, 1984, Anders Brørby semble exprimer un certain déterminisme existentiel mais ne s’abandonne jamais à la fatalité, il entretient une inclinaison certaine à la nostalgie tout en pensant aux avenirs possibles, il aime la noirceur et n’oublie pas qu’elle n’a aucune valeur sans son antagoniste. Il rejoint éventuellement en filigranes le propos de Nihil, dans une version alternative plus floue et libre d’interprétation, sans en perdre l’essentiel : la dualité de l’existence survit invariablement à sa propre extinction, et parcourir une nouvelle route équivaudra toujours à s’écarter légèrement du précédent chemin que l’on a tracé sur un anneau de Möbius.

Y a du digital haut-de-gamme, mais les rares courageux pourront aussi profiter du format-dont-on-ne-doit-pas-prononcer-le-nom ici, sur le Bandcamp du label français Hylé Tapes, qui héberge cette sortie.



[LP] Anders Brørby – Mulholland Drive, 1984
Par Etienne Poiarez le 7 décembre 2016 dans Chroniques

Prophète des paysages sonores abstraits et de l’obscurité ambiante, l’artiste-plasticien Anders Brørby dévoile un nouvel album en forme de bande-sonore sans concession, fusionnant aux images de films imaginaire et sous-tensions.

Avec ses disques précédents, les biens-nommés « Nihil » et « Music For Imaginary Scenarios », le compositeur d’Oslo tissait déjà des liens entre les disciplines. Dans sa pratique de l’art brut, il chante à travers ses machines des chapelles musicales atmosphériques, à base de synthétiseurs granulaires, de field-recording traités, de boucles et de micro-variations. Et si la référence au film « Mulholland Drive » du célèbre David Lynch semble évidente, nous croiserons aussi des références dans certains titres à son inoubliable série « Twin Peaks » comme à d’autres cinéastes, Dario Argento en tête.

S’il est difficile d’aborder l’œuvre morceau par morceau, tant l’osmose de l’univers est totale, on notera l’excellente « Black Room » qui fait muter de l’ambient ténébreuse en odyssée minérale, laissant ainsi s’écouler dans l’espace des effluves anxiogènes et naturalistes. Nous planons dans une étrange mélasse sonore à la fois aérienne et tétanisante sur « The Unhappiest Places Of Earth ». Nous captons même un semblant de lumière avec l’épurée « Defeat » et son chant mélancolique et haut-perchée, traversant des nappes triturées de glitchs. L’harmonie est complète lorsque retentissent les claviers de « Deconstruction of Mirages » et les machines vrombissantes de sa suite, « Handheld Weapon ».

« Mulholland Drive, 1984 » invoque des images allant de l’étrange douceur à l’apocalypse, des visions antinomiques et fortes qu’il est difficile de s’imaginer. Une musique qui s’adresse directement à l’esprit, à ses sens et son imagination. Chose intéressante, l’artiste évite de s’enfermer dans le bruit et la fureur malgré son accoutumance au drone. Il nous donne à entendre et ressentir des espaces très aériens, à l’inverse d’autres artistes creusant les décors abstraits et criards sans aucune circonspection. L’ambient se travaille sur le relief et sillonne sur les chemins de l’éternel Mulholland Drive, route aux milles visages qui continue de nourrir les fantasmes et les imaginaires des créateurs.


ANDERS BRØRBY – Mulholland Drive, 1984
(Hylé Tapes, 2016)

Il lato più cupo e visionario della multiforme personalità artistica di Anders Brørby torna a manifestarsi sotto forma delle dieci tracce di “Mulholland Drive, 1984”. Seguendo una sostanziale linea di continuità con il recente “Nihil”, l’artista norvegese prosegue la sua esplorazione di claustrofobici recessi fisici e spirituali partendo nuovamente da una massiccia materia sonora costituita da field recordings e strati sonori pesantemente processati, ai quali nell’occasione sono associati loop sintetici e improvvisazioni digitali .

L’approccio del lavoro presenta coltri di rumore lasciate libere di dipanarsi secondo moti quasi post-industriali (nella title track) ovvero modulate in drone maestosi (“Persuasion Of Existence”). La chiave di volta di “Mulholland Drive, 1984” è nel brano che ne raggiunge la metà, “Defeat”, le cui allucinate declamazioni vocali si diluiscono improvvisamente in gentili stille elettro-acustiche; da qui in poi, ad eccezione di un torbido ritorno distorto finale, l’ambience di Brørby svapora in una teoria di risonanze emozionali (“Room With A Different View”, “The Unhappiest Places On Earth”) decisamente più eteree rispetto alla prima parte del lavoro.

È il suggello di un’ulteriore ambivalenza nell’espressione di Brørby, non più solo obliquo artigiano di canzoni sognanti (come in “Holiday Affairs”, 2015) e sperimentatore dronico ma anche, sotto quest’ultima veste, capace di dispensare elementi di rumore tangibile ed evanescenze ambientali, manifestando in entrambi i casi una spiccata impronta cinematica.



released November 25, 2016



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