Is it just me or has there been a resurgence recently in what used to be called “electronica”? Admittedly, that has always been too narrow a term to describe Dictaphone’s music but even though their jazz background is felt throughout, the overall vibe, I would argue, is one of blissfully gentle, densely layered and multi-faceted electronics. All of Dictaphone’s earlier releases – two albums and an ep – came out on City Centre Offices, and “Poems From A Rooftop” is triggering nostalgia for a time when I’m Not A Gun, The Gentleman Losers and, elsewhere, The Matinee Orchestra brought together experiment and melody, analogue instruments and electronic manipulation.
All of which is present on “Poems From A Rooftop”, but Oliver Doerell, Roger Döring and new member Alexander Stolze prove that they’re some of the best around. Case in point (just one out of many): the interaction of sax and glockenspiel in “Maelbeek”. Call this “jazz-related” if you must (as some shops do) but to my ears “jazz” is only where this album starts. A track like “A bout de souffle” starts of with radio static, a melodic sample, Döring’s saxophone (there’s the jazz) followed by brief passages of rhythmic clicks and cuts, Raster Noton style. These prevail, supplanted by a haunting melody on acoustic guitar. After a few seconds, more trumpet, more blue note. Another few seconds and all is drowned momentarily by a collage of field recordings. Running footsteps, panting noises, a violin crescendo towards an abrupt end after not even three and a half minutes. And there’s much more where this has come from: “Poems From A Rooftop” is an album that celebrates freedom by giving it shape.
