"finely tooled machine rhythms ripple discreetly beneath the haze, and there are ominous undercurrents running through even the most blissed-out passages, as though to suggest that the illusion of weightlessness comes at a price." – Spin
"[Ulrich] is getting even more seductive with his sound." – Blackbook
At long last, Ulrich Schnauss is happy to release his latest record, A Long Way to Fall, on Domino Records. The album is the German-born electronic artist's labor of love, an solo album six years in the making. In honor of the release of the record, Schanuss has made like-minded producer Tycho's remix of "I Take Comfort In Your Ignorance" available for stream.
A Long Way to Fall is Schnauss' fourth album, and finds the artist returning to the punchier rhythms and pronounced lead work of his landmark album, A Strangely Isolated Place. Comprised of ten new recordings, the album is Schnauss' most varied release to date. The percolating mood piece, "Broken Homes" recalls a more melodic IDM while the frenetic, mesmerizing "The Weight Of Darkening Skies" reaches new heights in tempo never reached before on Ulrich's previous releases.
The album will be accompanied by a pair of visual pieces from the acclaimed photography and visual art duo of Nat Urazmetova (Hidden Shine) and Anastasija Nikitina for the tracks "A Ritual In Time And Death" and "I Take Comfort In Your Ignorance."
If DOOMBIRD is the last word you hear before you go under . . . under the spell of electronica-induced hyper-stimulation that will scatter your heartbeats across a spectrum of clicks and pops and palpitations scheduled for some time a decade from now . . . then consider yourself guided by the luck of a moment that informs spirit and mind. This is music that will take over your biorhythms and direc t your attention hither and yon. Some wave of exuberance will overcome you and force you to float over the 18th, 19th, 20th centuries to come to rest somewhere you have only begun to meekly investigate. A feeling you never knew you had will hijack you there.
In CYGNUS, DOOMBIRD plies their syncs and runs in service to the lives of a myriad of classical composers: their exile, their political engagement in foreign lands, their misbegotten passions that drive them to the brink and drive them to complete themselves, their curious habits of mind that structure their creative impulses. In these songs I have heard Beethoven on his spazierung composing his only song cycle. I have heard the juxtaposition of Mozart's up-tempo confession to Costanza and his God with the love call of Pac-Man for his beloved. I have heard Messiaen calculating the best angle by which to triangulate posterity. I have heard Cage's emptiness cut by surging machine language. When you listen, you will understand what is only beginning to percolate among your cells and their unseen mechanisms. Your intuition will urge you to believe that Doom Bird is that rare band, a band that dares to look to the past in order to cast the future.