Jakob Skøtt: Amor Fati

18,00 €

Limited to 500 copies - including digital download.

Causa Sui drummer Jakob Skøtt returns with his 2nd full length in his own name. Taking the leap from his debut Doppler’s introvert kosmische synthesizer dronescapes diving into a full blown mad scientist one-band mode, Jakob straps on a wide array of heavy percussive modes to fuel his vivid utopia of analogue synths and drums. It’s one man’s vision as crazed and intoxicated as it is soothing and compelling, borrowing as many clues from afro-beat, latin-grooves and new age-ambience as it does from the booming legacy of krautrock. The proceedings are distanced from both coolness and kitsch, and a refreshing break from any standards.

Mantis in Lace kicks off the record with a thick repetitive bass synth riff, on top of two drum kits battling to spontaneously combust. On top of that a heavy percussive layer of echo-addled synthesizers is working out a path of it’s own: An opening statement constantly collapsing on itself. Synthemesc takes a calmer, yet insisting percussive mode of full bodied Moog-tone carrying the track into a John Carpenter-ish landing. Araucaria Fire straps on congas for a more exotic journey into an organ riddled percussive clima, recollecting Trans Am and Tony Williams Lifetime. Side B lends to a more subtle start, with two tracks of electroorgasmic psychedelic bliss, leading the way into the heart of the title track – a heavy slice of funk as dense as any 4-piece band could have cooked it up. Landing the spaceship safely on Earth of no Horizon with a symphony of Terry Riley, Vangelis and Popol Vuh appear to end it all.

Amor Fati is unique blend of improvisation, as well as carefully structured climaxes and shifts.  All drums were recorded first take in a single afternoon, soloes slashed out in impulse mode, albeit everything was creatively mixed, using the editing process as yet another instrument in the vein of Bitches Brew’s Teo Macero, giving apollonian structure to a dionysian chaos. It’s music that (in line with the album's title) acknowledges both the glorious and the illfated in the unpredictable current of music.