Sølyst

Gleaned from material spanning the past three years. The time he has spent with these pieces has been time well spent. In revisiting them, he has posed new questions, rearranged and reworked some elements, dismissed or discarded others.The process of reappraisal has seen certain passages expanded upon, others pared away or refined. In the beginning, a sequencer and a sequence, rumbling along, not too fast, deeper tones and minor keys. Swathed in drum patterns and percussion, a mesh of metal and the occasional, unannounced crash of drums, as on the shimmering Flex or Hold. Echoes and echo chambers, phasers and flangers used as glue: Spring, the (S)piral, a flexible, coiled spring, stretched, bent, twisted to fit thesignal flow. Isolated sounds and vertical planes are added to the hypnotic, rhythmic framework, melodies are revealed on a nano level in transitions between nuanced layers and allusions.With all these elements in play, Klein creates a cinematic atmosphere for the big or the small screen, heavily laden in subliminal darkness, more spectral than aggressively threatening. A sense of foreboding, perhaps - or the nervous excitement of seeing a storm gather on the horizon as oneeagerly awaits the spectacle of thunder and lightning.