Kassel Jaeger: all sounds and instruments, composition
Jaeger’s imagination researches inside the borders of an idealistic simultaneity between materialization and etherealness, as evinced by preceding releases on imprints such as Mystery Sea and Unfathomless (both branches of the Daniel Crokaert ever-fruitful tree). On Toxic Cosmopolitanism the chemical process synthesizing ceaseless acoustic transmutations and the ariose properties of the original sounds works – again – quite fine. In the voluminous title track, the systematized deployment of treated instruments and earthy sources is rendered hazier by the use of inherent perturbations and reasonable impairment, whereas the album’s second half – the four chapters of “Exposure Scales” – is handsomely streamlined by reworked segments of the same materials, still looking for an interconnection of transmissible energy and timbral ambiguity. At first, the wide-ranging sense of “cryptically biotic” resonance might be regarded by an absentminded percipient as vaguely akin to something fished from the dark ambient marshlands. Do not even begin to think that. On the contrary, several intriguing enigmas underscore these accumulations of far-flung calls, belowground idioms and peculiar harmonic studies, as opposed to the large part of what was produced with stacks of synths and samplers from the late 80s to date. My best-loved section is “Sunlight”, an entrancing adjacence of string-like plucks creating a concordant motility upon which close intervals and tiny drops of who-knows-what yield the “right” kind of transfixion. The subsequent “Tide” is not bad, either.