After a nine-year hiatus, the return of Berlin’s Miwon sees a sensible addition to his catalogue with more bright ambient landscapes and techno sensibilities. True to the nature of N5MD records, the album continuously emphasizes melody with each 4-5 minute tune having a great deal of replay value while also expertly navigating open sonic terrain.
The album somewhat loses the rhythmic directness of 2008’s A to B and perhaps strikes a less emotionally moving tone. Save the late-album dives into darkness, these songs are breezy and light. Still, the project keeps the listener engaged with spot-on songwriting with each passing track.
The beginning of the album serves as a decent representation of much of the project. Opener “Fuzzy Words” builds swells above the active rhythmic foundation before the simple, but infectious melody comes in gently over the top. This track doesn’t dig too deep as it sort of stagnates forward, but it works great as an introduction to Miwon’s particular aesthetic.
“Wolkengedoens” and “Shutter” are a bit more of the meat of the work. Here, Miwon works in more drastic developments by continuously pilling on layers and emphasizing new melodic ideas. “Wolkengedoens,” for instance brings in a high synth melody towards the last 30 seconds of the tune to give a new splash of color that contrasts the slightly melancholy melodic centerpiece of the song. “Shutter” is sluggish in tempo, opening the space for a blissful, wandering melody that gradually gets surrounded by more and more rhythmic activity, making for a natural, unpredictable development.
“Mondharke”—track 7—serves as the first full-fledged look at violence and darkness. The crackling industrial sounds put the song on edge with pulsing low-end synths adding to the drama. “Cool Your Jets” doesn’t necessarily read as violent, but it maintains the dark, smoldering nature of the previous track with an especially bouncy melody over brooding chords and low-end rhythmic sounds.
Although these two tracks contrast the sonic pallet of the beginning of the project, the exploration of this territory comes a bit late into the work. Without these additions, the album would’ve been a bit one-dimensional, but it doesn’t feel all that well integrated into the project. If Miwon had issued one of his more violent songs sooner into the track listing and then let that sound influence the tracks that followed the tug and pull between smoldering darkness and bright ambient sounds would’ve been more constant.
There’s no shortage of great songwriting and it’s great to hear a long-anticipated work that bites like “Jigsawtooth,” but it might have been a bit more impactful had Miwon dabbled into the violent, smoldering side of his sound aesthetic more often in the work.