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Tuesday, Dec 27 2011 | 13:05 Buy this now at GoodToGo (B2B)

ZanshinZanshin is a versatile beast, a swiss army knife of electronic music. His influences are as out-of-space and farfetched as they are near-field and heartfelt. Like a painter in a white room he extends his arms to the fullest to paint what’s left in a musical landscape of his own, using all available colours and brushes, leaving the listener with a fully grown universe of experience. As much as he enjoys banging out frenetic and frantic beat structures capable of blowing any rock formation to bits and pieces, he relishes the lush and lascivious green fields of thick synthesized ambiences.

Exploring Zanshin will leave you with traces of any kind of broken step leading to classic electro flirting with abstract jazz and avantgarde. Bewildering field recordings mingling with heavy weight bass champions and there may always be a narrative voice lurking around the corner, singing a lullaby of sorts. This is music that spreads from sweaty club floors to lonely rides on the night train with ease, a fractured panorama of emotional complexity. A fascination with all kinds of structures in sounds, surprising twists and turns and epic moments are omnipresent and tantamount to a kind of credo. And if you ask himself, he might tell you a weird tale about an apprentice and a witch.

Zanshin is an idea, more a concept than a name, meaning “the heart that remains”. As its roots are found in asian martial arts, it is hinting at a certain kind of vigilance and alertness, ready to react in any given situation. Something for your mind, body and soul.

After releasing mainly 12s and EPs so far, Austrian label Affine Records presents its first artist long player. While his recently released “The Humdrum Conundrum EP” also touched dance floor terrain and had tinges of pop oriented vocals, this album is an ode to the freedom of not getting caught between two stools. It sounds as if Autechre and Dimlite are trying to melt Toblerone in the CERN particle generator in order to muffle Miles Davis’ trumpet with toffee quarks, the resulting wormhole sucking Burial, Plaid and Supersilent on the back of a Tortoise right into a subterrenean Monolake at the foot of the Eiger north face.

All the while remaining true to his own characteristic style and trademark sound aesthetics, knotting a magic carpet of massive and precise arrangements, drawing influences from UK electro luminaries, wild jazz-funk of the early 70ies up to the eclectic approach of 90ies post-rock bands, and presto, brainfuckdisco at its best. A picture puzzle made of cloudy panorama frescoes slowly evolving into lead glass windows as to suddenly pull colourful and heavyweight beat thunderstorms out of a panama hat in a parallel universe on twinkle-toes; et voilá: Zanshin – “Rain Are In Clouds”.

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