Bersarin Quartett - II [Album review]
Bersarin Quartett is finally back with the second album, simply titled II. Four years in the making were very busy for Thomas Bücker, hailing from Münster, Germany – the only member of the »quartett«. The name Bersarin, Thomas adopted from the last serving Soviet commander in East Berlin, Nikolai Erastowitsch Bersarin. Although this time there is a collaboration with two guest musicians on the latest issue. The album is released again under Denovali records and is available as a vinyl, compact disc or a digital download. Bücker’s debut as Bersarin Quartett was well accepted among critics and listenersand showcased his dark ambiental instrumentations – another side of Thomas who’s already been present on electronic scene for about a dozen years, however he worked mostly under the moniker Jean-Michel producing more upbeat IDM. All these experience has been needed for this incredibly sophisticated album. Long awaited II definitely lives up to expectations, and even exceeds them. Be prepared for an intense evocative journey enveloped in darkness, despair and grief. This whole record is a grandiose beautiful elegy; it is hard to believe such work could come from one person solely.
We are immediately greeted by a rumble, accompanied with familiar passages Thomas used often in previous album. However when the swelling strings set the scene together with slow complementary beats and earthy double bass, it gives a perception that of a much bigger album. Truly, the tracks are marvelous with the majestic harmonies already appealing by themselves alone, but the intensity of emotion they deliver is what raises it all to another level. The dark brooding sound structures are perfectly delivered and at moments I thought I was listening to the Clint Mansell’s soundtrack. Bücker ameliorates his sound and embellishes it to majestic proportions. Some tracks are typically his, for instance ´Der Mond, der Schnee und Du´ (The Moon, The Snow and You) with muffled drum beats and submerged synth notes, while the rest are uplifted to epic orchestral reveries. With the songs swaying seamlessly from one to another, the album serves as a story. And what a story this is! Shrouded grief gracefully transported into sound, it is an intense emotional music that will give goose bumps on the skin if you let it sink. Hopelessness and despair are conveying motives, expressed daintily yet with extremely powerful effect. Probably the most representative track is the longest one: ´Rot und Schwarz´ (Red and Black). Its dark sound texture with lurid thundering kicks summarizes the first part of the heart sinking sad novel. Although next one serves as a turning point – if we were exposed to the increasing despair, ´Keine Angst´ (Without Feat) calms us down. Whatever happened in the past, stayed there. We dealt with it and now we are able to move forward. It’s the first time the solution is offered in a form of conscious notion of accepting the situation. A lighter mood is also present in ´Jedem Zauber wohn ein Ende inne´ (Each Magic Comes to an End) which reassures us that everything has an end. Ultimate track ´Nichts ist Wie Voher´ (Nothing is as Before) completes the story. The deed is done, the action has been taken and with consequences we suffered there is new beginning – a new vantage point. However the last track sounds a bit too lighthearted taking into account the rumbling prologue. But maybe it is meant like that.
Needless to say, Thomas Bücker surpassed himself this time. This one is another must buy and one of the best albums this year so far. As the album is big in emotion so it is big in volume; 13 tracks altogether add up to around 70 minutes of music. You will get your money’s worth.
earned a special place but Apocalypse is worthy to lend an ear too. Strangely enough it hooked me with its ultimate song as well. Apocalypse is really easy to listen thanks to Callahan's deep, no-vibrato baritone voice and sluggish singing or rather speaking. It will want to transport you to some late Wild Western dusty porch, sipping a dry whiskey from a mason jar where you'll be too lazy to move anywhere because of the scorching sun. He keeps it simple: strutting guitar with occasional folkish fiddle, guest piano, and flute are just sidekicks. At this point the listener will notice a contrast. On Eagle, where the horns, strings and meticulous post-editing created almost ambientic feel, here on Apocalypse the sound is dirtier, even poor as like it was recorded in a living room without practice. Does this make it more personal? Well it’s up to the listener to decide.
