Side-projects and solo-projects are always a bit frustrating
because it is impossible to discuss them wholly on their own
merits. It is inevitable that they will be compared to and contrasted
with the regular band. Is this unfair? Perhaps. But what else are
you going to do?
Ampbuzz is guitar manipulator Chris Martin of Kinski creating very
un-Kinski-like soundscapes. But, that is not to say that there is
nothing in common between Ampbuzz and Kinski or that fans of
one will not necessarily enjoy the other. Quite the contrary. It is,
however, to say that Ampbuzz is as intimate as Kinski is
expansive, as gentle as Kinski is heavy, and as languid as Kinski
is driven.
This is one guy with all his gear taking the listener on a journey to
the bottom of the ocean. It begins with "Bubbles," in which the
faintest tones and distant echoes ease into a simple guitar
melody, and "Center for Clouds," which rumbles into a slow, yet
buoyant cycle of discrete tones. As the album progresses, taking
us deeper, the music begins to leave behind open space for
drones and deep pulses. This culminates in the record's
highlight, "Welcome to the Ocean Floor," which reverberates like a
distant message sent long ago that only recently made it to the
surface, with pulses that echo infinitely, becoming more and more
dense and hazy. Then the gentle, but incongruously titled,
"Underwater Bomb," gently lifts us back to the surface with light,
airy guitar tones that rise and sustain.
The biggest difference between this work and just some dude f-ing
around with a bunch of effects is the clear direction that guides
not only each track but the whole record across a clear arc. It is
easy for this type of music to lapse into pointless noodling. Martin,
however, works with intent and economy to create a satisfying and
effective journey through sound.
(Also, Kinski kicks ass.)
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