Venetian Snares x Daniel Lanois – s/t (Planet Mu)
For most of his
career, Daniel Lanois has been known for making evocative, atmospheric music.
Sure, he rocks out occasionally and flirts with abrasive tones, but generally
speaking, listening to a Lanois record is an immersive, soothing experience.
Not this one.
Venetian Snares is the
work of Winnipeg’s Aaron Funk, a wildly prolific electronic producer whose work
is full of skittering beats, sometimes seemingly arrhythmic, which underscore often
harsh tones that are sculpted into unusual melodies. It’s immersive, all right,
but it’s far from soothing.
Both men are sonic
innovators several generations apart. The idea of a collaboration is certainly
intriguing. Except that they don’t appear to be working together at all. We
hear Lanois’s sonically treated pedal-steel guitar throughout, but, with rare
exceptions, it usually fades into the background underneath Funk’s punishing
musical maelstroms, which can feel like being slapped upside the head with an
old videogame console. There is little to no interplay, no sense that Lanois is
responding to the chaos around him, no sense that Funk is even beginning to
adapt his uncompromising vision to play well with others.
There’s a bit of a
rich irony in that: Lanois’s detractors will argue that the legendary producer
subdues the sound of every artist he works with—arguably, records like Bob
Dylan’s Time Out of Mind or Emmylou
Harris’s Wrecking Ball are more
Lanois records than they are the work of the two greats in question—so it’s
somewhat satisfying to see him get pushed around by some young whippersnapper
(which, come to think of it, is a good descriptor for Funk’s approach to
beatmaking). The tension rarely produces results, but when it does it simply
hints at larger possibilities (“Bernard Revisit P81,” “Best P54).
Otherwise, it sounds
like grandpa is playing meditatively by himself in the attic while the toddler
trashes the kitchen. (May 4)
Stream: “HpShk5050
P127,” “Bernard Revisit P81,” “Best P54”
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