Omrr – Devils for my Darling.

Omrr is Egyptian musician Omar El Abd. Based in Cairo his music is “based on glitch, noise, micro-sounds, sampling and field recordings. He uses a variety of instruments and software to create free form, dynamic and dense sonic landscapes. After previously releasing “Music for the Anxious” on Eileen Rec he has joined Russian label Dronarivm for his latest album.

Designed as an imaginary love story, the album was recorded, mixed, mastered and all instruments played by El Abd in 2017. And what a sonicly dense and clean release it is. For the amount of sound sources being used there is no feeling of claustrophobia, with sounds being crisp, vibrant and allowing a lot of space.

“Quicksands” sets the tone for the variation of sound sources to be heard across the album. Granular glitches, Electroacoustic sound sources, field recordings, some sort of hand played instrument, possibly kalimba being semi-randomly played. The broken beat nature gives the track a start. Sounds whirl in from the nether, pulsing around as the (let’s go with) kalimba starts playing out an off kilter looped melody that brings on Synth pulses which usher in a more composed glitch section that swirls around the listeners ears, chimes clang, metal sounds shimmer, the Synth pulses continue, ambient layers float, bells are struck, cornet blows and it’s almost like a storm is blowing around the kalimba loops. Sonically there is much to take on, such is the richness of sound sources, but this engages the listener and gives them elements to focus on and the rest to explore over repeated listens.

“Ink we Spill” glitch sounds and field recordings begin this track with an assortment of electronics, bells, buzzing drones, cut up fractured recordings, acoustic guitar slowly building up with the glitchy electronics and field recordings dominating the sound palate while the acoustic guitar plays a reflective piece. The construction of the many electronic layers makes it quite easy to miss when elements drop in and out. The acoustic guitar stops around when the electronics have gone from alarming to a more field recording storm like drone sound scape which washes out the remainder of the track.

“Illicit” dark drones, field recordings of nature, ominous tones, industrial like sound sources, static come together piece by piece to take the album in a different direction. This is pure drone that had not truly been heard before. The levels build up slowly creating a wall of sound and noise that becomes a mixture of drones, static squall and some sort of distant repetitive alarm that is warning people of something. If this is a love story, maybe this track signifies that something is wrong or is breaking down.

“Aquiver” brings the tone slightly lighter than the previous track. The drones are sharp, but not overbearing. The pattern percussive glitches sounds pop in out of the field of listening, electronics pulse and scatter to leave piano that is accompanied by very subtle mixtures of glitches, static, electronics and drones. The focus is the piano, but the other elements tease in another direction which surprisingly goes where you don’t expect. Big drones reminiscent of some modern classical drone pieces fill up the sonic landscape with the every present broken glitchy electronics scattering about. We return to the piano, this time accompanied by static and field recordings which take over the sound scape and leads the track in another direction. Mutated ambience with a melodic edge floats around recordings of presumably downtown Cairo with a percussive edge to them with beats, people clapping and sonic degradation.

“Your Heartless Sky” old age melodies, maybe from a 78, make way for manipulated electronics and bell sounds, while glitches flicker in and out, vocal snippets vanish as soon as they appear. Mournful melodic drones float above while the sonic landcsape has been joined by guitar, shakers, fragments of horn like sounds, cut up sections that sound like some sort of transmissions. The track comes across as an a Electroacoustic collage of sounds. I cannot personally put down a theme for it, but then by not achieving that, the piece remains open-ended for interpretation.

“Rotten Sky” a fusion of granular glitches, scattershot sounds, echoing noises, reverberating sounds leads on to a piano motif that is short before pulses and field recordings intertwined with drones swirl around creating levels of sounds before the piano returns minimally. The contrast between the minimalist piano which is gently played and the sonic ephemera surrounding it is noticeable. The dark ambient/Electroacoustic mix is the primary focus. As the album has progressed along it has gotten noticeably darker with this being the darkest track.

“Eloquent” acoustic guitar mixed with field recording, string like drone sections, glitched recordings, looped recordings of a person panting, kalimba, chimes, build up for the majority of the track before the music switches to a more kalimba – like melodic section still paired with the looped panting, drones and metallic electronic sounds that sound like metal shavings being swept up. If you take away the majority of the instruments for the most part of the track the string drone and ambient sections would be for some enough.

For this release Omrr has created a deep Electroacoustic release with elements of Glitch, Ambient, Drone and Modern Classical. While I am not sure I follow the narrative of the love story, the release is engaging with its great amount of sound sources within each track. It would be interesting to see what Omrr could achieve with a restriction on the amount of sound sources at his disposal and how that would affect the construction of his music. For a Sonically rich album it would be hard to find something as vibrant as this album. A mention should go to the great artwork of Francisca Pageo.

 

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