Since 2022, the (formerly, among other things, as Integral or when known) Enigma from Lethbridge under the as audry Bandcamp with a never-ending stream of releases – Undisclosed archyde news & End Credits For the first time, it also attracts attention away from experts who are familiar with the scene.
As a latecomer, overwhelmed by an almost endless back catalog of releases in the rear-view mirror, let me be open and honest at the outset: I have no idea where it’s worth going into the exuberant (and obviously also qualitatively fluctuating) discographies of NineFourteen, searchq and all the innumerable project names to get involved – or in what relation Undisclosed archyde news & End Credits actually moved here. But the artwork is at least an eye-catcher and provides the necessary attention.
How to defiance asks audry faced with a proper test of patience: Undisclosed archyde news & End Credits opened in the form of Technological Progress in CSIS Accounts for Doppler Effect pt. 2 with an almost ten-minute intro of field recording whistles and snippets of conversation, as if you were attending a completely uninteresting butt call between random instrument tuning, followingnoon shopping and a busy airplane tower business, until a diffuse banter as a musical warm-up exercise at least vaguely interested wakes up This may have its atmospheric moments in the ambience, but ultimately this introduction (on its own probably never consumed and even in the context of subsequent visits probably skipped without any rewarding effect) hardly does anyone a favor – least of all the album itself.
Even following Undisclosed archyde news & End Credits its basic MO, the patient and unexcited A Few Days Ago immediately followingwards in great detail with relaxed, rippling guitars in Slowcore a la Duster (and a self-made LoFi sound that all the contemporary trend projects from the home recording bedroom like Asian Glow or Thank you use) together with deep and sonorous nagging reciting anti-singing, which lulls darkly and cultivates the contemplative post-punk aesthetics, in that a somnambulistic trance understands post-rock and shoegaze with a repetitive uniformity as a means to an end, the lethargic space-rock feeling with it glitching noise tendencies, a remote melancholy is declared to be the driving force behind the spirit of optimism, and the guitars finally begin to howl even more cacophonically caressingly – yes, that will also be the case followingwards Undisclosed archyde news & End Credits still tend towards moments of avant-garde sound installation.
However, concentrated on the rear end of the plate, these are better balanced than in the unweighted entry. Reflexive Universalism begins as atmospheric meandering and casual banter, but following almost half of its expansive playing time decides on an electronically underpinned song with a vague notwist feeling that runs abysmally off track in the usual Audry type of this record. Plagiarism of Closure, on the other hand, flows largely instrumentally, lost in thought and quickly – and finally underlining that the structurally simple knitted compositions, which often border on the fifteen-minute mark, cleverly use their enormous length as a tool for hypnosis – and then unravels as the finale to a chopped-up snipping experiment .
The double off Ericsson Keychain with its dreamy drive and softer momentum and the almost optimistically sparkling subtext Partly Rightin which the voice has long since been resolved into a sound-painting element, are distraction-free concentrated highlights in between, whose passive pull works almost perfectly and studiously equalizes that Undisclosed archyde news & End Credits would have worked more effectively in a more distilled appearance without losing its character.
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