True story: Les Scott (a.k.a. Neu Gestalt) and I live in the same city, and worked in the same organisation, and yet we’ve never met. “Altered Carbon”, his début release, was an astonishing tour de force. Indeed, it’s one of my five favourite electronica albums ever. “Weightless Hours” has been three years in the making. That’s a long time by any standards. Given how much I love his first album, I hoped so much that I wouldn’t be disappointed. Thankfully, I had nothing to fear.
“Toxicology” begins with lapping water and breathy shakuhachi over band-passed crackles and phased synths. A glitchy pattern breaks out, underpinned by an immense bass. Simple piano notes are then draped over all of this, creating a fabulous contrast of acoustic and electronic instruments. It’s a cracker of an opener, signalling in advance how the album might develop. “Abandoned Cities” has a cinematic oriental feel, with melted shakuhachi notes warping themselves around a highly structured, intricate rhythm. On “Cold Wave”, a bright chiming pair of stereo synths lead us into a shuffling, loping beat, lurching relentlessly forward under reverb-drenched stabs and icy flickers.
“Saturn Park”‘ is the most rhythm-driven track here, liquid keys burbling as the beat is fuelled by odd synthetic springs and coils which fit perfectly. Again, there’s piano, though with much more reverb, and wide panoramic pads. Sublime music for daytime train travel, as the listener follows both an internal, and external, landscape. “Winter” is truly beautiful, soft notes suspended in pointed shards of ice as the music stutters and shivers; tiny aural snowflakes fall to left and right as a gentle beat builds. The half-way point in the album, “Sub Rosa”, is reluctant to give up its secrets; a pad shimmers above water and a highly complex organic rhythm, which crackles and spirals off into the distance, then somehow reassembles itself.