You get a feeling of traveling through space and time as you let the album roll over you. There's both a sense of new age enlightenment and darker cult realms, sometimes in the same song. Fife is a student of both music and of the macabre, and he works them both into one momentous work of art on Black Carbon.
Timothy Fife seems to have locked into another realm on his Mondo/Death Waltz Originals debut Black Carbon. Within these three key tracks there seems to be worlds and entities that bubble up from the cascading synths and eerie oohs and ahhs he creates with nothing more than circuitry, wires, and electrical impulses. You get a feeling of traveling through space and time as you let the album roll over you. There’s both a sense of new age enlightenment and darker cult realms, sometimes in the same song. Fife is a student of both music and of the macabre, and he works them both into one momentous work of art on Black Carbon.
I first came to know Fife’s work on last year’s excellent Form Hell, a release by Fife and fellow synth enthusiast Christopher Livengood’s project called Victims. With Form Hell, Fife and Livengood released two immense tracks on the world that brought to mind the best of Tangerine Dream, Klaus Schulze, and even John Carpenter. My eyes were opened to what serious voodoo Fife could summon with analog devices. When I’d heard Timothy Fife was releasing his solo debut album with Death Waltz Originals I knew it was going to be one of the best of the year. Well Black Carbon is here and it lives up to all my made up hype, and then some.
“Sydney At Night”, even before the music starts, sounds like an epic journey. It opens with the sound of evening overpowering you. Chirping creatures, distant winds, then electrical disturbances slowly take over in your head. Buzzing feedback, horror film dissonance, and eventually a synth melody makes itself known. Propulsive, electronic rhythm moves you along through a makeshift night sky. Blackness pushes over your face as chills take over your body. Musically we’re in komische territory, all bubbling synths and desolation. Beautiful, beautiful desolation. Fife has worked out a krautrock masterwork here. All 17 minutes are vital to the overall atmospheric beauty here. A frayed psyche never sounded so good.
For the digital-only crowd there’s a bonus track in “Alebedesque”. It’s a dreamy, hallucinogenic track that feels like you’re slowly falling through space. It suddenly switches gears and turns into an almost industrial noise track before dissolving into the atmosphere.
Lead track “Black Carbon” powers through a mere 3 minutes and some change, but what it accomplishes in those few moments feels like one hell of a journey. Those familiar with the Victims EP will find “Black Carbon” familiar and inviting. It’s an ominous riff with bits and pieces bobbing in and out of earshot that make you look around the room thinking someone is sneaking up on you. It’s short and sweet, but nonetheless overpowering.
We finally arrive at album closer “Low Plain Landscape”, a sort of aural journey into the ether. It carries new age tendencies; swaths of dense soundscapes that swell and collapse onto themselves, revealing new layers and emotions the deeper you get. It’s this gentle walk through the mist. “Low Plain Landscape” is the peace and enlightenment we searched for through the darker journeys taken before.
We began in the dark and have now reached the light.
Black Carbon is a stunning debut from Timothy Fife. He brings to mind many of the greats that came before him, but brings something completely his own to these excellent songs. There is a flow and continuity here that makes this record an engaging listen from start to finish. So put on your headphones, close your eyes, and get lost in Black Carbon.
8. 3 out of 10
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