ElMuelle1931 / Europe / 2023
*english below
*Interested record stores, please contact us for wholesale
Sen case ter tempo de recuperar alento despois do debut estelar de KOU, regresan Nina Harker con outro disco homónimo igual de estimulante e desconcertante que os seus traballos anteriores.
Unha obra mestra que camiña cara ao cume do "faino-ti-mesma" internacional, transitando de novo entre un enredo de linguas e sons que nos transportan a un nivel máis profundo de intimidade e introspección. Un álbum que, dalgún xeito, se afasta do post-punk desvencellado e cosmopolita co que coqueteaban no seu anterior LP para acubillarse no illamento rural dunha casa de campo abandonada nalgún lugar do norte de Francia.
Murmurios golpeados por acordes minimalistas de guitarra e piano que reverberan illados dentro dunha néboa espesa de bucólicas gravacións de campo, asubíos de cinta e electrónica artellada con sintetizadores amortecidos e caixas de ritmos que se afunden na abstracción para crear unha contorna sonora íntima e hipnótica.
Nina Harker seguen drenando os mananciais sonoros que regaron os seus anteriores álbums. Fuxindo de artificios, céntranse en tirar o máximo partido a unha paleta instrumental mínima. Utilizan as súas voces -falando ou medio cantando-, e o ambiente circundante, como instrumentos principais que impregnan a súa música dunha beleza cativadora e evocadora dun sentimento de nostalxia que nos deixa paralizados.
10 pezas que se desvanecen antes de que as puideses memorizar, e que continúan tendendo pontes entre a electrónica caseira de baixa fidelidade e a canción de escuros autores autodidactas. Sons que tamén configuran os catálogos dalgúns dos nosos selos escandinavos favoritos, como Forlaget Kornmod e Förlag Fri Musik.
Un folk que abrangue numerosas linguaxes e que choca cunha música concreta primitivista difícil de descifrar. Un universo sonoro moi particular que se esconde nas escuras profundidades do underground afín aos sons máis íntimos, e con pouca consideración pola fidelidade, que pululan polos suxestivos catálogos de Low Company ou Horn Of Plenty.
De novo, sentimos unha enorme satisfacción por participar na (co)edición dun dos mellores discos que se publican este ano.
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With little time to catch their breath after KOU's stellar debut, Nina Harker returns with another self-titled album just as stimulating and disconcerting as their previous works.
It is a masterpiece that walks towards the top of the international "do it yourself" scene, traveling again through a tangle of languages and sounds that transport us to a deeper level of intimacy and introspection. It is an album that somehow moves away from the ramshackle, cosmopolitan post-punk they flirted with on their previous LP to take shelter in the rural isolation of an abandoned country house in the north of France.
Murmurs are struck by minimalist guitar and piano chords that reverberate isolated within a thick fog of bucolic field recordings, tape hisses, and electronics articulated with muffled synths and drum machines that sink into abstraction to create an intimate and hypnotic soundscape.
Nina Harker continues to drain the sound springs that watered their previous albums. Avoiding artifice, they focus on making the most of a minimal instrumental palette. They use their voices - speaking or half-singing - and the surrounding environment as main instruments that imbue their music with a captivating beauty that evokes a feeling of nostalgia that leaves us paralyzed.
These ten pieces fade away before you can memorize them, and they continue to build bridges between low-fidelity homemade electronics and the songs of obscure self-taught authors. These sounds also make up the catalogs of some of our favorite Scandinavian labels, such as Forlaget Kornmod and Förlag För Fri Musik.
A folk that encompasses numerous languages and collides with primitivist concrete music that is difficult to decipher. A very particular sound universe that hides in the dark depths of the underground related to the most intimate sounds and with little regard
for fidelity that swarm through the suggestive catalogs of Low Company or Horn Of Plenty.
Once again, we feel enormous satisfaction for participating in the (co)edition of one of the best albums released this year.