Kontour has been experimenting with electronic
devices and voice manipulation for over twenty years. This new album
brings forth an array of pure electronics and experimentation. It explores
some truths in society and the fears those truths create. Social disorder
and mental derangement run amok in a post apocalyptic landscape. You
are being watched everywhere you go; everything you do is being registered.
The albumís production involved no use of computers but harked back
to analogue sequencers and tape machines, creating a sound not at home
in the clean digital age we are subjected to. Percussion and rhythm
came from a collection of vintage drum machines heavily processed and
overdubbed with manually played electronic drums. Recorded voices were
left almost inaudible, disappearing into a backwash of distorted phase.
David Hunt aka Kontour is an English artist who has already been active for more than 20 years now. He for sure is a musician who remains faithful to a sort of early electronic tradition reminding me of the 80s. More than once “Scanners” evokes some early and good old Cabaret Voltaire memories. Especially the 2 debut songs are really cool and essential. There’s this brute electronic construction made with instruments like a Moog or MXR effect processor. It creates these typical electronic vibes while the good-old rhythm box percussion sound only reinforce the 80s feeling. The male vocal parts are pretty zombie-like, but totally fitting in to the music. “The Kennedy Syndrome” and “Loose Wire” are definitely strong openers. I’m not affirming that after such a great debut the album slowly stagnates, but it’s just that the other tracks left are less convincing. “Pressure Point” is a track that brings the album again to a higher level. Kontour also reveals a more experimental side, which brings some diversity, but less new high lights. It doesn’t take away that this album will for sure please the lovers of early Cabaret Voltaire and other bands in the same line. (DP:7)DP.
Kontour - Necromance - From The album "Scanners"
The album’s production involved no use of computers but harked back to analogue sequencers and tape machines, creating a sound not at home in the clean digital age we are subjected to. Percussion and rhythm came from a collection of vintage drum machines heavily processed and overdubbed with manually played electronic drums. Recorded voices were left almost inaudible, disappearing into a backwash of distorted phase.
Kontour is a British all-electronic group from the South of England. Their new album, ‘Scanners’, is being recognised as a step forward in electronic music, albeit with odd and eccentric footsteps. Containing songs about government surveillance and mass paranoia sounding like it was recorded during a nuclear war. The new fifteen-track CD is a testament to the creative work of a creative artist pushing the boundaries of music. Each song blends into the next with the continuity you’d expect from a modern day apocalyptic storyteller. The themes are reminiscent of Burroughs or Ballard approaching people’s ideals of untruths and hidden reality. The uniqueness of ‘Scanners’ can be attributed to the writer and producer David Hunt, who’s experimental approach, to the album, has created some unique and interesting sounds. Having experimented with analogue effects and tape recorders on previous recordings, he continued with that approach and ran with it into the far future. The songs were constructed from the ground up with distorted rhythm tracks and mantra basslines weaving in and out through crazed synth noise sounding like something unheard of in today’s clean digital age. Running over and under the music is the uneasy vocal of Hunt, who uses various methods to create the eerie sound of the story teller feeding you the lines to some sordid hidden secret hidden by the powers that be. The subject matter turns to the darker side of life with stories of conspiracy, fetish fantasy and abnormal emotions. Tracks like ‘Necromance’ and ‘Kennedy Syndrome’ reveal the development in music style since Kontour’s previous release. The conclusion of experimentation mixed with the uneasy vocals makes this CD an engaging listen.