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(untitled) Kingdom

by Jemh Circs

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Hannes
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asthmaticworm
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Karel Hupjé
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kalvin ellis
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richard collins
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1.
Falsch 02:05
2.
PG/YY/A 03:12
3.
000 01:50
4.
(AA) 02:34
5.
The Fall 02:22
6.
SFW/ii 02:45
7.
20.000 ¥ 01:51
8.
Lac Dali 04:01
9.
33/3 03:15
10.
Peak Oil 02:15
11.
auto-da-fé 01:15
12.
UR 72 01:23
13.
Animals.....Animals 03:56
14.
20/20 01:57
15.
Zebra 02:49
16.
CRISPR/Cas9 02:18
17.
L.V 03:17
18.
(H) 04:43
19.
Milch 03:17
20.
Metabolismus 01:17
21.
Doyg 02:00
22.
gn0sis 01:45
23.
(untitled) Kingdom 03:55
24.
Persian Knives 03:52

about

Black To Comm’s Marc Richter returns with a new album of arcane YouTube edits, digital Fourth World Psychedelia, warped Pop exorcism and vectorized songs about Milk, Zebras, Biogenetics and Cutlery.

credits

released April 20, 2018

➥ This is a CELLULE 75 release!
➥ CELL-2

-----

"Marc Richter (Black To Comm) whips YouTube samples into a psychedelic wormhole of ideas on his outstanding 2nd LP as Jemh Circs; (untitled) Kingdom. Landing somewhere between early James Ferraro and Spencer Clarke, one of Merzbow’s more colourful whirligigs, and an asylum fitted with walls of TV screens playing every YouTube video at once, it’s not for the casual listener, but those who like their musical data dense with compressed information will be left reeling by the end of the record." (Boomkat)

"Much like the first Jemh Circs album, (untitled) Kingdom is a deranged and fractured rabbit hole of cannibalized and re-purposed YouTube clips, though it feels like Richter has gone a bit deeper down that uniquely post-modern path this time around: this is very much a disorienting and lysergic playground of gleeful experimentation and deconstruction from start to finish. As such, much of (untitled) Kingdoms' appeal lies in its sheer otherworldly mindfuckery. However, the album's second half occasionally allows some unexpected vistas of alien beauty to break through Richter's stuttering and kaleidoscopic fever dream." (Anthony D'Amico / Brainwashed)

"Where previously he’d toyed with mathematical deviance, this time around he has dropped all pretense of logic; it gets close to pure chaos out here in the Kingdom but there’s always an unseen alchemy at work, one which transforms these random bursts of sound into something approaching the sublime.
Getting lost within the limitless possibilities of composition while maintaining focus is no easy feat to achieve, certainly not for an entire album yet somehow he has done so.
True, there is less obvious cohesion on his sophomore release but is that really such a bad thing. He asks for our attention, which in itself would sour a lot of listeners; in return, he reveals a simmering world of blunted beats and unremittingly advanced sound design. Layer upon layer of sound folds in upon itself and once the desired level of compression has been achieved, it emerges again having been radically transformed beyond any recognizable incarnation. A haze of after-images trail behind, lingering only long enough to paradoxically draw out our curiosity." (Santa Sangre)

"Using the cultural appropriation attitudes spearheaded by Negativland and taking pop music and YouTube rips as the (possibly sole) sonic source, and mangling and mashing those sources with the experimental outlook of early Steve Reich tape experiments but using modern tech to pull those sound clips past the bounds of recognisability and far beyond, Marc Richter, as Jemh Circs, offers up twenty-four short, often awkward, sometimes impenetrable noisy soundscapes of short loops pulled into unconventional time signatures, processed found sounds and electronic glitching, many of them shorter than this sentence.
But there’s more musicality at play here than the ‘borrowing from YouTube’ concept may imply. The pitch shifting of choral noises into chord patterns in “(AA)” is well constructed and successful. Perhaps by appropriating string sounds from film soundtracks (I’m speculating there), pieces like “Lac Dali” have their own noisy take on an emotional symphonic atmosphere, while the title track embodies the entire concept quite neatly.
There’s a fair share of more sparse and melancholic pieces, but plenty of noisy rough-edged pieces like “20/20” and broken-rhythm-experiment “L.V” to keep you on your toes throughout the 64-minute listen.
It’s a strong concept, well executed, and while the result isn’t necessarily a pleasant listen and you do find yourself wishing that some of the ideas could’ve been fleshed out a little further beyond the three-minute mark (I particularly wanted to hear more of “Metabolismus”), it’s a piece of work worthy of some attention." (Chain D.L.K.)

"Jehm Circs from Hamburg brings you a cd/lp along with an art book - a new release that can easily be classified as "experimental electronics" but what a ride it offers.
Punctuating beats and electronic synth passages at first brought some memories of early hauntology of James Ferraro but in a more sophisticated hi-fi version of it but still heating up the same emoticons of the post-post-post-whatever farce.
There is distant feel of both glitchy idm and a storm of a high tide synth wave in those musings - hypnotic, counter-logical to what you may feel at first but always surprisingly melancholic and evocative through small scale micro-events that this album is full of.
Like a surf ride - it makes you feel grab a bit more and more..." (Felthat)

"Richter verbindet, er forscht – eine Haltung, die vielen aktuell abgeht....."(untitled) Kingdom" ist ein Beispiel angewandter Wissenschaft. Die von der Musik. Die vom zukünftigen Umgang damit." (Nonpop)

"Der Hamburger Marc Richter, sonst eher als Black To Comm bekannt fabriziert unter dem Alias Jemh Circs hochexperimentellen Lo-Fi-Glitch. Die zweite Arbeit unter diesem Namen, (untitled) Kingdom (Cellule75) steht was die verschrobene Freigeistigkeit bei gleichzeitigem Restbewusstsein um Pop und Hörbarkeit Jelinek in nichts nach." (Frank P. Eckert / Groove)

Marc Richter in Hamburg - Stichworte: Black To Comm, Dekorder - hat sich mit Jemh Circs eine neue Maske aufgesetzt. Für "Jemh Circs" (CELL-1, 2016) und die Lathe-7" "Qot" (Hasenbart, 2018). Und nun 24 neue Tracks, enthusiastisch erzitternde Klangbeben, vital zuckend und orgelnd. Pochend, klirrend, hämmernd und wie auf dem Schüttelrost gerüttelt die rhythmische Ebene, euphorisch dudelnd und hymnisch clusternd auf der orgelig-harmonischen. Wobei diese Schichten sich ständig durchdringen und wechselseitig erregen. Kontrastieren eben noch dumpfe Beats mit quirligen Zackenkämmen, loopen jetzt schon hektische Zuckungen (wie eine hängende CD, wie einst Microstoria) zu dröhnend schillernden Synthieergüssen. Gedämpften und dennoch fiebrigen Momenten folgen Verwerfungen mit lallendem Gesängen und tickenden oder zirpenden Lauten. Immer in einem quasi manischen Erregungszustand, einem popinfizierten Delirium aus verhackstückten oder gestauchten Samples. Beständig wird die Kurbel gedreht, mal abgedunkelt als welliges Wummern, mal als sirrendes Mahlen, Knittern und Knattern. Durchwegs mit Tremolo-Tremor und Drehwurmdrall, wie breit und feierlich auch immer die Orgel/Synthie-Register aufscheinen und changieren. 'Peak Oil' und 'Zebra' strafen mich Lügen mit einem langen Halteton zum Picken einer Saite und verhuschtem Knabenchor und mit melancholischem Saxophon. Aber an sich bleibt es doch Fahrstuhlmusik für Wackelkopfpuppen. Bei 'Animals.....Animals' fallen Schüssen und alle kuschen. Aber gleich wieder deliriert ein Mad Organist, hecheln und stammeln Stimmen oder tänzeln Endlosrillen, denen Jemh Circs auf die Sprünge hilft. Ich will mich als Phlegmatiker nicht beklagen, er meint es ja gut. (Bad Alchemy)

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