Review Summary: Aimed for the feet and chest.
Danish producer Jacob Madsen has been expanding upon his drill ’n’ bass blueprint under the Karsten Pflum moniker, adopting styles from all corners of electronic music.
Dode (whose title is inspired by a Swedish tabletop role-playing game) sees Madsen craft vast, rhythmically rich landscapes, channelling IDM, dubstep, industrial techno, and a multitude of other styles into an ambitious, lengthy collection. If there was a conceptual element of pen-and-paper role-playing beyond the titular influence,
Dode embodies exploration and creativity, though tethered by a reverence for tradition. Much of
Dode’s success tends to rely not just on the tracks’ ability to portray an arching narrative, but in the off-kilter textures and diligent percussion. “Eclipsis” is synth-heavy, calling to mind an arcade golden age, as thumping bass partners with dystopian textures and speedy note progressions while wind ekes through the cracks. “Vackra Inavlade” is polyrhythmic, with subdued drum and bass, and careful attention to detail - every snare, every crunch, every whisper, fine-tuned. “Fem Cirklar För Fem Aspekter” exemplifies Madsen’s fascination with old-school techno and Scandinavian folk music, with dulcimer samples coinciding with the sounds of ‘80s Detroit.
While the meticulous arrangement breathes life into much of
Dode’s runtime, the more bloated numbers lose some of their lustre before the three-quarter mark, ending dissatisfyingly. “Dvärg Maskian” is a bit slow-moving, and fairly tame, despite the grimy bass, ominous trumpets, and squirrelly hi-hats. “Eterisk” is spoiled by an over-mixed glitch effect, impaling the soft downtempo underlay, leaving the lovely hums and hisses unnoticed. A handful of questionable production tactics might make the road a tad rockier, but Madsen works with an impressive palette.
Dode moves a bit like an ultramarathon, never wrought with adrenaline, opting for a paced approach with varying degrees of energy as it bounds through the terrain. In a way, it resembles the nomadic cover art, settling in a variety of locations, ever-adapting. A track like “Nibbnubb” carries a head-bobbing vibe with an element of danger, prepared to pop smoke should someone infiltrate the celebration.
Cementing his versatility is closer “Darwiches Inbjudan”, a ten-and-a-half minute droning sprawl, and a contrast to previous tracks. Whereas most of
Dode relies on microscopic fascination, honing in on the subtle manipulations, “Darwiches Inbjudan” focuses on the bigger picture, and is one of the more evocative pieces as a result. Tones rise and fall, while chimes and various background noises add depth. With an album so reliant on rhythm, the structureless nature is an interesting choice to cap things off. Whether or not there’s any closure might depend on the spoken end-portion (unfortunately, the language is lost on me). Ultimately, his newest release doesn’t suggest Madsen has found any closure in the grand scheme of things, or nestled into comfort after accumulating over a decade of experience. He’s a wanderer, and
Dode embraces the thrill of the chase.
