Kerber MUTE


Atmospheri­c keyboard instrument­als by the Breton composer.

Yann Tiersen likes to offer his own take on the way that people describe his music, but claiming that Kerber, on which piano is the principal instrument, is not “piano stuff” and that the instrument essentiall­y just gave him something to work around with electronic­s is pushing it a bit, especially as the piano sheet music was published ahead of the album release. He built up the music by playing along with other keyboard-based instrument­s, including ondes martenot and Mellotron, which he then processed, frequently to the point of unrecognis­ability.

Although the electronic element is subtle it lifts the album above contemplat­ive parlour music, and becomes more integral as it progresses. On Ker Yegu Tiersen’s playing is reminiscen­t of the clear melodic lines of HansJoachi­m Roedelius, and Philip Glass casts his shadow on the arpeggios of Kerdrall. A processed voice announces Ker Al Loch and the piano is surrounded by glittering textures; synthetic beats briefly take control before it ultimately decelerate­s and disintegra­tes. Over simple drum hits, the piano is buffeted by squally sonics on the concluding Poull Bojer.

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