Almost Gone EP
FAT-zig 019




01. Almost Gone
02. Upstairs
03. Nina's Broken Tango
04. Field Notes
05. New Haven
06. An Empty Letter
07. Twelve Grapes (Bonus)

Almost Gone" is the name of Remood's debut ep (extended play) and contains 7 selected tracks of the last two years at almost an album's length.
Remood's sound can be located somewhere between Burial and James Last - vivid bass music with emotional dramaturgy, always a hip swing away from a solid genre classification, personally and openly experimenting with influences of a musical imprint of all that has beat, bass and soul.
The goal - leading the world of thought and emotion into narrowed pathways - has already been given up by Remood providing music that is ostensibly non-minimalist. The world around him is the paint set on which he draws and it shows - layer by layer. Field Recordings from the sad semi province, playful jazzy passages, multilayered beats with a natural swing, warm deep bass runs and an organic, lightly tinkered world of sound and synth assemble in arrangments that are rich in narration.
Escaping habits, at the same time not dissipating, remaining palpable, are the main motives of Remood's production method and the "Almost Gone" ep of the label Freude am Tanzen from Jena is a first signal for more.


1. Almost Gone
The title track of the ep begins like a deep breath of air in the forests, followed by a heavy analogous surface which pushes its way out of the deepness bit by bit in order to spread on a grooving broken beat. Ensnared by an electric piano and a mellotron, "Almost Gone" juggles an entire orchestra of elements and doesn't provide any breathing space.

2. Upstairs
From the beginning, "Upstairs" starts in a nu jazzy direction and reveals more and more surprising track elements in its playful arc of suspense which seem to be jamming with the sometimes driving, sometimes prancing drums. The small finale with chimes dissolves unexpectedly in a bittersweet break-down during the last third of the track and radiates the warmth of a summer rain with emotional rhodes, sub-bass and reduced drum-work.

3. Nina's Broken Tango
Dust and noise, low-pitched piano fragments, garage-like yoghurt pot drums, and echoes of something that apparently used to be a tango, provide the dark scaffold of the tune before it flees into dreamy melancholy. It remains his secret who nina is. Maybe we're all a bit nina.

4. Field Notes
Turning the screw toward 130 bpm, clear memories of Remood's drum and bass past resonate in "Field Notes". The foundation is a reese bassline that arbitates between the soul-filled changes of chords, vocal snippets and the pushing drum machine beat. In the course of the track, a sizzling piano texture announces itself, which fully develops in the endearing breakdown and briefly threatens to drift into a harsh, distorted world before the beat retrieves it into reality and dissolves the track harmonically.

5. New Haven
A bit of sailor's yarn melodized in almost 9 minutes. Nostalgically gazing into the distance, "New Haven" seems to tell a story of the sea with its entwined elements and emotional bobbing movement which one ought to listen to.

6. An Empty Letter
In halftime pace "An Empty Letter" sets the finale. With voluminous piano chords and a rustling beat, which appears to merely be held together by the snare, the track accumulates to an oddly banal statement and the admission to not be able to offer all of that or maybe not even wanting to. Within the last part, "An Empty Letter" shatters into a melancholic, "bluesy" collage which releases the listener into the dark night.

7. Twelve Grapes (Bonus)
The bonus track "Twelve Grapes" reveals itself in a dark and distant manner. The track is borne by an hypnotic bassline and synth chords which proceed to dub-techno-terrain. By the shifting drum elements and exciting modulations, "Twelve Grapes" remains interesting, mysterious and especially danceable until the very end.