Derek Piotr’s Drono is, as its name suggests, a drone album. It emphasizes the form and durational composition of drone through unquantized, glitching samples and near-absence of rhythm. Yet this is a drone album preoccupied with mutability: the tracks are technically built on sustained harmonic centers, but they feature variation, movement and depth that transcend the limits of drone’s singularity. Rather than emphasising static monotony, each composition is a subdued journey through shifting moods and textures.
Drono was mastered by frequent Piotr collaborator Antye Greie-Ripatti (LINE artist AGF), and its long-form pieces comprise samples of Piotr’s manipulated vocals, self-made sample banks of glittering noise and moments of 16kps.
‘Rivulet To Gulf’ is evocative of a Morton Feldman chorale, if it were performed by a choir of automata. Its delicate beauty is intermittently interrupted by muffled beats floating in from another time. Standout ‘Lakes’ is composed wholly from Maja Ratkje’s spliced voice, organic frequency and emotional resonance drained in favour of pure texture. On ‘Shallows’, Piotr continues the exploration of the Post-Internet condition that drove 2013’s Raj, building a humming and whirring soundscape of pixelated mouse clicks. The gentle static-laden ticking has a sensual effect comparable to ASMR. As its name suggests, ‘Absolute Grey (Piotr/Brinkmann)’ – an edit of Drono center-piece ‘Wash’ – continues the minimal pure tonality of Thomas Brinkmann’s 2015 What You Hear (Is What You Hear) album.
1 Sound 03:44
2 Rivulet to Gulf 08:25
3 Lakes (with Maja Ratkje) 12:08
4 Wash 17:46
5 Shallows 11:22
6 Absolute Grey (Piotr / Brinkmann) 16:26