“The most immediately satisfying element of Nascent – which appears to be the first widely available full-length from signalsundertests – is that it can operate comfortably as one start-to-finish listening experience. Such focus feels like the aftermath of laying every aspect of his musical persona before himself via Mecca; now aware of which areas are most worthy of pursuit, he can take to each with a reinvigorated assurance. Nascent is, to use a broadly encompassing term, an “ambient” work, with the rhythmic element virtually ditched entirely in order to place emphasis on texture design and looser, cinematic narratives.
There’s some good stuff here. Some of the album evokes gigantic arctic caverns, in which sounds shimmer as glints of light catching on the ice. Other times a likeness to the depth and solitude of a space voyage feels more appropriate, as thicker swells of synthesiser chord rush up from beneath and pour in from the sides; guitars crackle into nothing like dying stars, with their slow-motion decay left to reverberate to the edges of the daunting imaginary stereo stretch. “Kapelle” stands out as a particularly engrossing moment, with electronics stuttering like drips of motion on a placid lake of drones. Meanwhile, closing piece “Ebb and Flow” lets feedback see-saw between pitches as a central wave of distortion drives forth and then recedes, with smaller streams of static breaking off and lapping up elsewhere” (Jack Chuter, 2012).
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