On “Stromern,” Chemiefaserwerk leaves his listener in an esoteric white noise soundscape to fend for themselves. The textural hints at rhythm are the only guiding marks in the sand as static shading is the main subject material. There is something mesmerizing about it all and Chemiefaserwerk develops quasi-melodic motives to make sense of the slight variations in aesthetic.
There is also some level of melodic motion as what sound like keyboard sounds drone on in the background eventually fading nearly to front and center. It is interesting to hear the way the piece is layered. Rather than placing drones front and center, the whole sound focuses in on elongated phrasing with the main melodic voice fumbling around in the bath of white noise.
With minimalist music, the main question in artistry is dynamic-ism. In musical compositions that remain nearly stagnant throughout, the artist must make a careful effort to find as much variation in their very subdued musical development. Particularly on “Stromern,” it seems as if Chemiefaserwerk is leaving the listener in stagnant, sustaining territories, but there’s something mesmerizing about about it. With deeper listens, it is clear that the piece slowly evolves even in it’s static, electronic sound.
Collagen is a great album. I mentioned in my First Impressions post that it operates as a collage of different sounds. From front to back, Chemiefaserwerk successfully combines a rather large color pallet into a cohesive design. “Stromern” is a particularly intriguing shade of sound that finds beauty in bliss, stagnant aesthetic.