German born, long-term resident of Scotland, John Lemke’s debut, People Do, was released in August, on German label Denovali. This album embodies the sound of the label. Their releases go to extremes of noisey noise (see Moon Zero) and post metal (Oneirogen). The label’s core is obvious from the Swingfest line-ups they curate in Berlin, Essen and London coming from the likes of Piano Interrupted, Poppy Ackroyd, Sebastian Plano and new signing Frederico Albanese. This collection of downbeat, leftfield, electro-acoustic experimentalists is exactly where Lemke belongs.
It’s easy to pull inspirations out of Lemke’s debut LP. The opening dissonant notes of album opener End of Endlessness immediately bring to mind Andro by Oneohtrix Point Never. The unstable pitch feels like a worn vinyl player belt pushing and pulling the speed of the player. This synthy intro seems to be used as a indicator for what is not about to come. The opening notes could easily be the start of the bewildering trip that is Replica, but instead these give way to well crafted beats under a bed of acoustic instruments.
The remainder of End of Endlessness as well as the second track, Shatterbox, are somewhat indebted to Joe Acheson of Hidden Orchestra who are, in a way, also label-mates (Denovali pressed and released Hidden Orchestra’s Tru Thoughts releases). There are a few telltale signs of Hidden Orchestra from the processing on the instruments and their arrangement, to the way Lemke lifts filters off drums ahead of the next rise in energy. Shatterbox opens with a similar drum filter and a classic Hidden Orchestra saxophone line.
From here on in the album diversifies. The Air Between points towards Hauschka’s Salon Des Amateurs, through its dark harmonies and prepared piano percussion. Ivory Nights and When We Could have a more early Jon Hopkins feel to them, with a acoustic instruments sat on a more traditional chill out bed. The latter evokes a sense of euphoria like Light Through the Veins.
Lemke is successful in bringing all these influences together to produce a coherent and structured album. The Dorothea interludes act as a breath of fresh air and offer a more introspective look. Lemke’s work as a composer for TV comes through on Ivory and Night and Norland. This would be easy to shrug off, but actually, other than giving the tracks an TV-like inquisitive feel, a deeper sense of structure is formed. Lemke uses these structures to tell a story, rather than just creating a mood or background atmosphere, which is far too common a theme in downbeat music.
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