13/09/2023
Apart from spending time and energy for his collaboration and live performances with Mloski, between 2005 and 2007 Res began acquiring new production techniques, experimenting with various audio software and plug-ins and shaping his own sound. His solo efforts from that period reflect his personal experiences and observations with human nature thus the dark atmosphere on the majority of his tracks. By the end of 2006 Res had become weary of absorbing negative conclusions and pessimism and transferring them into sound, so he needed to envelope all such emotions into a therapeutical release that would let his thoughts free. The result was “Skeaf” LP – 14 track mammoth of deep, introvert, melancholic and at times chilling tunes rich of detail, that demanded attentive listen. The album cover was designed by Tishbite of Zvuked label, who managed to capture the mechanical nature of distanced surveillance and analytical interpretations that Res introduces in the tracks.
The album’s opener “4v2” is an excited and hectic collection into Res’s earlier influences by certain Warp artist’s ambient releases, a track driven by fast headbanging beat of rolling and flanger effected percussions, punishing snare drum and menacing muddy bassline under dreamy chords and pads. Then “Petminutishest” carries on with apparent melancholy, unfolding slowly around simple glitchy loop, repetitve chords and droning pad that successfully stay away from becoming boring, supported by scarce particles of melodies and deconstructedn drumbeat, naturally flowing into to Skeaf’s third track “Through the mist” which opens with washed out heavily downsampled and distorted percussion, suddenly replaced by gorgeous downpitched lead synth and percussion that seems to enjoy being manipulated and distorted under the relentless pace of a simple but convincing beat, that regardless of dominating the track’s structure eventually fails to hold itself tight, disintegrates and submerges into decay and delay. Then “Mdrrd” confirms the classic IDM roots of this release with heavily distorted drumloop and moody melody fragments. “Object of attack” is aggressive, pessimistic beat-driven track with marching percussion, influenced by contemporary civilization’s war machine and its embracement by public media. “Seelvii” starts where the previous track ends, with a reverberated sample of late-night Bulgarian national radio news report on war, introducing alarming and worrisome sounds that soon give way to another pessimistic story of obliterated and ruined cities. “Hostelled in art (vable inet mix)” is a leisurely paced calming revisit to a track from Res’s 2005 debut EP and also a breath of fresh air in the middle of what has already become quite disturbing release. “S9” is the soundtrack of software crashing competition, leading into glitched out decay. “Indvs” aggressively runs down the already troubled listener with percussions boxing each other until they somehow manage to rearrange and calm down under stormlike noises, bursts of delayed stabs and sampled mumbling monotone voice resurrected from “Seelvii”’s ashes. “Kamm” is another brick into Skeaf’s glitched beats wall, injecting even more hopelessness into Res’s prediction on the future for the human kind. “Ymbolichsptl” is cold and sterile in its first part and midway slows down into calming beat and wide reverberations. “Aim haire” resembles “4v2” in its emotion, expression and motives, but is much simpler, focused, moodier and (surprisingly) merrier. “Under a tree” abruptly slows down the tempo, uncomplicated and unoffensive, and would perfectly ease off the exhausted listener if it wasn’t for the album’s final track – the agreessive and asskicking “Contour 3”, another remix of a track from Res’s 2005 debut EP, lead by relentless kick drums, releasing revengeful and merciless fury, transforming it into nearly two minutes of digital glitched waste of unidentified origin that thankfully ends its existence down the gutter.
“Skeaf” LP is now available for free download in its original 256kbps mp3 audio and high quality FLAC format.
Sounding much different from what has become a distinctive mark of his collaboration with Mloski, Res's sophomore release for Jisatsuken in 2007 displays...
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