rene hell

Showing 1–10 of 12 results

  • marble sky – the sad return -students of decay

    out of stock

    Limited to a mere 15 copies, the original Marble Sky cassette
    is definitely an album which has been talked about more than
    actually heard. Released in 2007 by the Callow God label, and
    dedicated to “several friends passing through and across,”
    “The Sad Return” finds Impregnable’s Jeff Witscher conjuring
    devastatingly beautiful tidepools of romantic, nostalgic
    drone music. As evidenced by the surge of placid, warm
    Impregnable recordings which began turning up midway through
    2007, Witscher has become increasingly interested in lulling
    ambient music – a move which is in sharp contrast to his
    earlier, blisteringly harsh noise work with Impregnable. After
    hearing the cassette, we knew that this was material that demanded
    a larger audience and we’re thrilled to present the original material
    along with 20 minutes of new recordings.

    Listening to “The Sad Return” is akin to staring out into a grey
    horizon on a late autumn day. “Pulling Out Grass Under a Blanket”
    is a smear of beautifully evolving, evocative tones wrung from
    guitar and synthesizer. Witscher’s attention to detail and pacing
    is marvelous, as wisps of choral drones weave in and out of
    warm gushes of washed out synth discharge. Later, on “What You
    Might Forget,” surges of static threaten to unhinge a romantic
    dronework that brings to mind the levitating vistas of Mirror at
    their most poignant. Elsewhere, Witscher channels the glacial
    synth studies of Elaine Radigue into a myriad of focused, devotional
    dreamstates akin to the dayglo analog string fantastias put forth
    by Stars of the Lid circa “Avec-Laudenum.” Ultimately, Marble Sky
    stands as Witscher’s opus: a strikingly wrought meditation on
    sadness, love and the depths of memory.

  • rene hell / pete swanson – waiting for the ladies – shelter press

    out of stock

    Vinyl reissue of the massively limited split LP from Yellow Swans’ Pete Swanson and darkened Kosmische operator Rene Hell, who each supply a side of new music. On Swanson’s side, rhythmic electronic signals clear the debris after a few introductory minutes of his signature noise-wash, cycling through nervous patterns of hum before the detritus starts to very incrementally build up again. It’s in these more methodical moments that you get to hear a side of the Yellow Swan that’s seldom made this explicit. Largely devoid of the fiery plumes of feedback that constitute so much of his discography, for some stretches, ‘Self Help’ captures Swanson in nurturing mode, coaxing the rhythmic qualities of his music to the forefront, eventually developing a kind of noisy, metronomic snare sound before the whole thing comes crashing down once again, this time under the weight of a flood of scourging drones. Finally, Swanson’s fizzy, electric pulse returns to usher out the side-long piece.

    On the flipside we find Rene Hell following up on the cosmic analogue excursions of his Porcelain Opera LP with a side full of hardware-driven synthetic vistas. Right up there with contemporaries like Emeralds and Oneohtrix Point Never, Hell (real name Jeff Witscher) spends his side constructing the kind of intense, pastoral sci-fi sound worlds that could have been plucked from forty years in the past, or for that matter, forty years in the future.

  • rene hell – baroque arcade – is night people

    out of stock

    Will anyone ever fully catch on, be able to keep track of, or catch up with Jeff Witscher’s mysterious output? like trying to understand alien technology, like feeling space and time itself like a drug, this cassette of new Rene Hell material falls easily amongst Witscher’s best offerings and falls like a prelude to his upcoming LP on Type. An intense abyss of ambiguous voices, decaying rhythm tracks, synth ambience, super hi fi production and panning techniques, Baroque Arcade endlessly stretches out from the speakers like some new world being born.

  • rene hell – the terminal symphony

    out of stock

    It might not have been so long since Jeff Witscher released his debut ‘proper’ album under the Rene Hell moniker, but he’s kept himself busy in the interim all the same. Since ‘Porcelain Opera’ Jeff has put out a whole series of collaborations, 7”s, tapes and splits but few of these have given even a hint at what to expect from this sophomore full-length. Looking to his love of classical minimalism Jeff took this as the starting point for the record; he is quick to state however that this is not homage but a reinterpretation of those specific forms. The result is a deeply electronic rendition of this classical formula; the digital and analogue synthesizer and drum machine sounds that brought ‘Porcelain Opera’ to life are reframed and transferred into a very different compositional structure.

    ‘The Terminal Symphony’ is Jeff’s attempt to write tighter, more composed pieces of music – something of a reaction against the glut of long, often-flabby drone compositions that have become a mainstay in the scene. The pieces here are short, concise, and packed full of ideas that can take multiple listens to unravel, and the album, as a whole is almost obsessively structured and complex. Each side of the record is composed very specifically with a beginning, middle and an end (as opposed to the almost expected prolonged noodling jam) and when we begin with the familiar grunt and grind of ‘Chamber Forte’ it is only mere minutes before the track dissolves into the main theme of the album. The sounds we became familiar with on ‘Porcelain Opera’ are pushed slowly into the background to allow these new symphonic passages to shine through. An appropriate enough comparison might be arch-recluse Aphex Twin, but there is no pandering to dance music culture here. Rather Jeff has used his enviable background in noise, punk and synthesizer music to come up with something totally removed from the current scene, and absolutely singular.

    The album comes to a close with the hauntingly melancholy and purposefully referential ‘Adagio For String Portrait’. The dancing synthetic blips that pirouette across Witscher’s mournful electronic waves not only re-enforce the decades long love affair between electronic and classical music but help to define it in 2011.