His reworking of the Jazz from Philipp Gropper’s Philm. »Re: Phgrp«, from last year, presented me with jazz from such an outrageous side that I could still bite my ass today, that we didn’t get it on our annual best list. Probably it was just because the thing wasn’t released on vinyl, so I’d like to appeal to you to make up for that. So now there is a new album by Grischa Lichtenberger. «kamilhan; il y a péril en la demeure» shows once again that there is hardly a second one who is able to master the balance between complicated and just so easily. At first everything is a riddle with Grischa Lichtenberger. For their solution there is first of all the danger of delay (or as we French say: il y a péril en la demeure). His titles are called like old typewriter models, like droids on Mandalore, like drug ingredients, like index cards by Niklas Luhmann. They give no hint to the actual content. This is not the only reason why the first thing that comes to mind when listening to Grischa Lichtenberger is Autechre. For me, Autechre is nothing more than brainwashed beatmakers, which is why the music they play should be called head-hop. The same goes for Grischa Lichtenberger, at least on this record. Listen for yourself: »v carg 1br« leaves hardly any doubt that it is the most soulful hip-hop that has ever been created in Bielefeld; »syn resr« is finest G-funk; »oev 1 sp 3 re« is boom bap played on rusty, mechanical looms. But he can also be a Ben Frost lookalike in »roma 1d«. So the disguise with Lichtenberger is not to commit oneself in the end, to undermine expectations. With Autechre, the disguise is that they consistently make hip-hop that never sounds like hip-hop. They never lift the veil. Grischenberger, on the other hand, constantly and thus lays false tracks.Back to kamilhan; il y a péril en la demeure: The first half is a bit better than the very good second half. What more can I say?
Scott Gordon
Metals
Diagonal