Review Summary: Flowers in the field - Gidge deliver a beautiful and sprawling landscape that, while focusing more on its general aesthetic, has many moments to remember.
I am not an electronic music connoisseur. I am, generally, not even an electronic music enjoyer. Admittedly, exposure has been limited, but entries from electronic-Pantheon artists such as Massive Attack and Aphex Twin have never stuck out to me as singularly great pieces. The pop-crossover artists, such as Daft Punk, have been of even less interest to myself. Strangely, there was one piece of minimalistic electronic music that resonated deeply with me, and the method by which it became so near-and-dear seemed unconventional. This piece is C418’s Minecraft Soundtrack, “Volume Alpha”. As one could infer, this piece became so beloved by constant exposure through the video game, and eventually associative memories formed and allowed for a mood and atmosphere that became familiar enough to deeply (and to the fullest extent) enjoy it on its own. This method of passive listening and appreciation became very important in my digestion of the record at hand.
Enter ambient electronic/house duo, Gidge. Their sound is, as you would expect, derived from the aforementioned labels – a blend of atmospheric synthesizers, pianos, strings, and horns very often laid atop bouncing #0# drums that add the patented house-rhythm to the picture (lots of shakers, wood blocks, and snaps alongside punchy kicks). The other electronic/house pillar to expect is the indecipherable vocal samples often used to add central melody and intrigue. To their uniqueness, I cannot fairly comment, though I may say that the general aesthetic is something been imparted on me by experience with various video games, film scores or soundtracks, etc. and from that perspective I think it is fair to say that Gidge is not necessarily covering new ground here. This is not to say anything about the quality of the music itself.
On to the construction of the record itself. “Autumn Bells” wears its intentions on its sleeves – get lost listening. The structures of the songs and record itself are hazy and demure. It gently invites you in to be passively swept away as it waxes and wanes. Unlike other primarily atmospheric and instrumental music, such as post-rock, this record is not built on tension, build up, crescendo, and the inevitably release or anti-release. If you were to imagine the emotional rollercoaster of an epic post-rock arrangement as a metaphorical inhale, “Autumn Bells” is the exhale counterpoint. Less metaphorically, I found myself closing my eyes and deeply exhaling in a gesture of tranquility as the monotony and ambiance took over the frantic hyperactivity that I am usually overcome with. That is what this record is best at - delivering a peaceful beauty via repetitious rhythms and melodies. Lulling without boring. Hypnotization sans tedium.
While nebulous structure, repetition, and enveloping atmosphere make up the gestalt of “Autumn Bells”, it is not without memorable moments that jump out like figurative flowers in the figurative field landscape delivered by the record. Some of my favorite highlights are the accordian-esque synth jabs in the climax of “You”, and the eastern sitar-like melodies of “Dusk”, and the minimalistic tension near the 2:00 mark of “Huldra”. The opener, “Fauna, Pt 1”, sounds as if it could exist in a futuristic techno-Tolkien Lord of the Rings alternative universe and serves as an excellent introduction. The opposite bookend also serves as a highlight – album closer, “Norrland”, incorporates horns that could have seemingly been plucked from Bobby Krlic’s score for 2019 film, “Midsommar”, offering a whimsical yet almost discordant ebb and flow of melody and rhythm. This track is, to my eyes, the standout with both moments and general feeling.
The glowing praise does come with reciprocal criticism. The emphasis on lush soundscapes as opposed to distinct points of prominence can make the active listening experience tedious – the least enjoyable listen for myself was when this record was top-of-mind and all focus was directed at it, while the most enjoyable was while I was deeply engaged in a task that required a greater deal of attention, with Gidge providing a great backdrop for physical activity and mental thought. It is not altogether without the aforementioned “moments” – the flowers ARE popping up about the horizon in field, but I am not entirely convinced that you need to actively walk through that field and pick the flower to realize the beauty of the landscape.. maybe it suffices to look at it out the window as your car passes by.
