[Chrönique] Odio Sis – Deconstruction – EP – 2017.

Studiolo Laps



Digital/Soon available in CD

Jacques Derrida’s critical outlook, which shares a title with this release, clung intrinsically to the idea of approaching a text, not from within but, from without. Of seeing that « différance » was paramount to informed understanding and that authorial intent is often surpassed by the cultural habits of an audience. Taking this into consideration when engaging with any art form can, for better or worse, lead you down unforeseen paths.

Odio Sis’s music contains a haunting solemnity that brings to mind the doomed dystopian Los Angeles of Blade Runner. Barely perceptible sub frequencies vibrate like shifts in mood, in thought, in feeling. It is too soon to recognise the change but it is already there, happening on a cellular level. The you that you once were is now lost to a dwindling past. A respirator creaks life into a decaying body deep within the bowels of an abandoned vessel gone rogue. These electrical rumbles and flares are feral and in pain. There is a gentle experimentation to this too, like softly nudging a child-schlepping rowboat across a static pond overlooked by wild skies which dare to threaten an anxious storm capable of sploshing hailstones down into increasingly concave waters.

It’s an undertaking of dubious safety.

Nina Hoppas has crafted a record that feels incredibly alone. If sound could travel in space, the track P(r)ocession would be a suitable sonic accompaniment for a detached astronaut spiralling off into forever. Surrendering to the vast unknown. Even the otherworldly dial tones that close the track are dead and unanswered. And then there is Sounds From the Past which soars in that religious manner which allows church organs to oppress. Limping drums serve here as rhythmic reminders of the frailty and stuttering humanity at the heart of all doctrines. That infallibility is impossible renders it an instant paradox. And, as this track gradually dies out with a mangled and castrated version of those initially self-assured notes, it is no longer difficult to presume where Hoppas’s intentions lie.

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