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[non-industrial] Closure - Closure EP
Katarzyna NINa Górnisiewicz | Detailed or mini-review submissions: song, EP/album | Suggest an artist
Closure - Closure EP |self-released, 2012|

01. Assertion, 02. Tonight, 03. Untitled I, 04. Untitled II, 05. Aspect Deletion - Per Year (Closure RMX)

What is it that describes natural beauty the best? There are many features you would list, but undoubtedly it's an intriguing balance with simplicity hidden behind the appeal and grace of a first impression. This description is exactly the feeling you may experience while listening to the debut EP by a one man German post-rock project named Closure that was founded by Carl Albrecht in 2010.

The most important thing about an average human brain is that it likes simple, repetitive tunes. Although, if they're too simple, the ears get bored. Therefore, a musician's ability to create unique atmospheres means a lot. These aspects will influence the way a listener perceives a selection of tunes as well as the harmonic or dis-harmonic melodies it's made from. Closure ventured towards composing hallucinatory music which will interact with your natural brainwaves very well. The debut EP was released in 2012. It includes four instrumental songs recorded, programed and arranged by Carl as well as a remix he did for the band Aspect Deletion. Although Carl is the sole recording artist on the EP, he plans to include a live bassist and drummer to perform the music of Closure in concert.

The opening song, "Assertion" initially brings challenging, yet soothing moods. After a while, it gains more passion due to repetitive arrangements based on dirty guitars, drums and bass. The overall atmosphere which advances with a bit of a tension may put a listener into an unexpected, addictive trance.

"Tonight" reflects the composer's view on a type of night many of us are familiar with: dreamy, harmonious, peaceful and sensual. It's usually like that unless you deal with a sleep disorder, tooth ache or generally speaking, got sick. The track doesn't miss dense accents though, many of which were expressed by rhythmic, grungy guitar riffs similar to those from "Assertion", but definitely heavier.

When it comes to "Untitled I" which is the third track on the album, the main vibe behind the meaning of the song is repetition. Carl gains much of his influence from bands like Godflesh as well as their post-rock project, Jesu, who base the foundation of their music on the repetition of hook driven rhythms as well as the characterization of arrangements that rely on the raw power of an intelligently used drum machine. Your joy depends on how long you can forbear the same repetitive guitar arrangements including those in the higher octave ranges. Having 3:41 minutes to utilize within a composition could have led to an achievement of a more outstanding delivery of effects. However, the sound of "Untitled I" does become addictive at some point and includes nice contrasts between pitched and low guitar riffs that are layered along the track.

The following song called "Untitled II" begins with languorous guitars supported by matching, slow drum beats. You'll also hear a bit of light synths accompanying the two. The song sounds relaxing. It may be a good idea to listen to it when you feel the need to dream or meditate.

"Aspect Deletion - Per Year (Closure RMX)" finishes the Closure EP. Its repetitions and overall "nowhere to rush" atmosphere make it a neat non-rock track that is a good match to pubs and clubs where patrons chill out while having regular meetings with friends.

Some bands create original songs when they reach their artistic limit in structure and complexity throughout their compositions, but only if the arrangements are thought out and performed very well. Others, like Closure prefer to focus on building their instrumental songs through simplified songwriting with enchanting moods. All of the songs on this EP bring simple, repetitive schemes, however the sound is extremely captivating. That's the natural beauty as I mentioned above and the track "Assertion" illustrates it the best.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 18th, 2013. Proofreading: Scott M. Owens)

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