Phil Struck - Kiliae I - Cosima Pitz
The ominous label Cosima Pitz expands its catalogue with a wonderful new release by Phil Struck. After several tapes on labels such as Mondoj or Quiet Time Tapes and an impressive debut LP on Séance Centre, Kiliae I marks the second LP by the Berlin-based sonic artist. As with his previous releases, there is a strong influence of field recordings.
Before Struck moved to Berlin recently, he was based in Kiel in the very north of Germany, just about 50 miles from Denmark. Nature in general, but also the very special environment of that area, plays a crucial role in his work. It is therefore no surprise that one of his previous albums was titled Schleswig-Holstein-Aufnahmen, a collection of recordings from this region, which is also known as the "land between the seas." Another common thread in his work is the use of nature-related and often descriptive track titles; for this reason, a translation follows each german title in this review.
Especially compared to his previous LP, Kiliae I is a lot more uplifting—less about rough seas or storms and more about evoking a sense of spring in full swing. Ufer (shore) opens this new chapter with guiding, warm bass lines and percussion set against water recordings. Inne (for a moment) is a beautifully arranged piece that patiently evolves from ambient into a guitar-focused downtempo cut. Nessel (nettle) brings this warm, spring-like vibe to a peak with wonderfully quirky synthesizer arpeggios, subtle wind-chime-leaning percussion, warm bass melodies, and modular bleeps imitating water drops. Muschelohr I (shell ear I), a pure ambient piece, corresponds perfectly to its title, sounding like the ambient drone of holding a shell to one’s ear. The shortest piece, Laterna, is also the most abstract on the album, full of New Age-influenced, intertwined percussion and field recordings that create a dense atmosphere. It also marks a small second chapter of the LP, which is slightly less accessible. Immergrau (always grey) stands out as a melancholic jam of authentic, home-recorded piano and plucked cello or double bass, punctuated here and there by the natural creaks of the instruments and the floor. Durch den Dunst (through the mist) is the darkest piece on the record, featuring several layers of very deep strings, chords, and plenty of bass. Fyburger, with its simple, warm bassline accompanied by harp and synced percussion, returns to the vibe of the first half of the album, providing a sense of a "happy ending."
One is left excited and hopeful to listen to Kiliae II at some point!
