[Reviewed by: Damiano Lanzi]
Each one of the five “Meditations in April Green” by Kine is a hieratic experimental mantra that goes through different stages and consistencies of the matter. It’s concrete music that gives tactile sensations – more than just auditory or emotional ones. This is my personal interpretation of the suggestions that I found in this opus:
Meditation 1: Structured on metallic elements, like beaten copper pipes and chordophone sounds. The priestly vocalization recalls progressive acts such as Gong and Area. The guitar improvises on scales that are close to African blues.
Meditation 2: The sampled bird singings mark the entrance of a rainforest, a vast and overwhelming natural environment. Wooden elements as the drums in the beginning, that sound like beats on a hollow log. Further on we hear more bird singings, but this time they’re synthesized and menacing. Suddenly the ambience becomes unsettling and vaguely hostile. A wave generator suggests an airplane that flies over the luxuriant trees: it’s the human element that breaks through this uncontaminated ecosystem. The synthesized sounds are modulated to become chainsaws and gunshots in the distance. The deep vocal growls are progressively transformed by the vocoder into digital squeaks, underlined by chaotic guitar scales, as if in the end the industrial devastation prevails over the power of nature. This is perhaps the most eventful and remarkable suite in the album.
Meditation 3: With its flute improvisations, this is the most strictly “sonic” of the meditations. It experiments with different sound textures that we find also in the other tracks, and perhaps for this reason it’s placed in a central position in the tracklist: it’s a sum of all the other moments. The percussive guitar playing gradually evolves into a wall of distortions and feedbacks.
Meditation 4: This is the “airy” meditation. Here the electronics imitate gusts of wind that quickly become powerful and insistent, then objects that jingle and slam, carried by the force of the wind. The laments of the voice underline that this force is becoming unbearable; the windstorm blows it all away in a crescendo of noise.
Meditation 5: It’s the domain of water, of liquid and diluted sounds that flow without interruptions, as the enveloping sine wave of the bass synth in the intro. The guitar phrases are followed by a lush modulated delay. Even when the voice intervenes it’s whispered and muffled, as if the sound is coming through a pool. The synths in the end sound like water jets.