Yannick Franck: electronics, drums, analog synths, vocals
In the current electro-acoustic climate, the most obvious comparison when pseudo-static music is the subject of an investigation is that which spells the “drone=Om” equivalence. But in Yannick Franck’s 24-minute The Utmost Night this apposition is fully justified, the piece unfolding indeed like a mantra sung by a choir of creatures from the Hades, reinforced by voluminous vibrational components and under-the-crust noises derived by the miscellany of sources utilized besides the voice. You are all acquainted, by now, with this babbler’s persuasion about the genre – which, in my opinion, rarely has something truly innovative to offer nowadays, being the favored field of “work” for people who have no clue in regard to the effective immaterial implications of a sonic conception, not to mention the unfitness for actually learning to play an instrument, or just “compose” in the truest acceptation of the verb. Still, you have to give credit where it’s due: in this case, recognize Franck’s track as compellingly hard-hitting, deserving to be classified quite high in the rank of space-filling motionless soundscapes generally based on ultra-low resonance and growling murmuration. Translation: the usual suspects (fans of Lustmord, Maeror Tri, Lull and so forth) will unquestionably do well to take account of this item. I, for one, was not offended; the “repeat” mode is advisable.