casino versus japan "whole numbers play the basics" press
Xlr8r
– november 2002
Armed
with a wall-of-sound approach and a groovy retro-synth aesthetic,
-
Susanna bolle
Giant
Robot #27
If
you blend shoegazer sounds with light electronics, you’ll understand the music
of Milwaukee-based producer erik Kowalski. It’s
been three years since his previous album, and this one is worth the wait.
There are some hip-hop lite beats and pretty sounds, but it’s the
instrumental waves and splashes that make his music stand out.
There’s an excitement to the sound, and maybe that’s why hummer uses
his stuff in a commercial! It’s on
the post-rock edge, but it’s not ghostly or subdued.
What does the name mean? I
have no idea.
-
eric nakamura
the
big takeover - #51
-
mark suppanz
Shout
– December 2002
CVSJ’s
third album would make an ideal soundtrack to those grainy, jr. high science
class films. The warm, reverb-soaked
synth tones float like organic jazz compositions rather than sterile desktop
applications, evolving into more complex life forms right before your ears.
CVSJ is one of the rare artists giving voice to the ghost in the machine
of electronic music
-
NS - 7 stars
Mass
transfer #5 – winter 2003
I
really, really like the new casino vs. japan, “whole numbers play the
basics”, mostly because of its excellent use of electronics in shaping a
non-technical feeling sound. In the
3 years or so since his last release, CVJ CEO erik Kowalski has intensely
refined his work into a well-put together style, and it shows on the opener
“single variation of two”. Lushly
orchestrated electronic tones and arpeggios carry the tune, supported by slow
and lazy trip-hop beats. The beats
get funkier on “aquarium”, where the bass swims freely and the moogs bubble
to the surface, and “where to?/what for?” – quite the feel good song!
many short vignettes, like “coma signoff” or “you were there”,
punctuate the songs, giving the disc a continuous and holistic feel.
Recommended for everyone!
Dusted
magazine –
Cha-ching!
The
steady influx in electronic pop over the past few years has been almost
exclusively Kraut in origin. Perhaps best epitomized by
This
laptop Top of the Pops ideology has resulted in a number of great albums, mostly
by European artists. All apologies to Audio Dregs and Plug Research, but
That
is, until now.
The
Whole
Numbers Plays the Basics consists of buried
unassuming hip hop rhythms behind layers of ambient noise, morphing the
seemingly disparate into the indisputably dynamic. Nether regions are dissolved
amidst wispy melodies, giving the songs a homogenized taste, far different from
techno’s bump ‘n’ thump globule approach. The beats breach the surface
only after floating through fathoms of fuzzed-out synth and guitar, the relaxed
tempos in no rush to assert themselves.
Kowalski’s
influences run down his chin and onto his sleeve. His swirling atmospheric
synths recall the chaotic bliss of My Bloody Valentine and the Cocteau Twins,
draping thick curtains of reverb and hiss over primarily unpretentious Casio
riffs. These backdrops often act as introductions, setting the stage for their
rhythmic brethren. The permeating fog on “Where to? / What for?” establishes
the confines, then saunters out a swinging stream of sixteenth-note high hats.
While hardly the poppiest tune on Whole Numbers, the moments of exchange
between eighth- and sixteenth-hits never grow tiresome on repeated listens.
The
symbiotic relationship of brittle beats and nebulous accompaniment remains
Kowalski’s trademark throughout Whole Numbers. “Manic Thru Tone”
loops an industrial triplet-beat behind fuzzed-out drones, while synthetic
recorders flutter atop the din. “Aquarium” features wire-thin clicks and
strolls along to submerged bass loop.
“Tryptiline
Fabricate’s” washed-out vibes ascend lullaby-style to the ticks of a ghetto
electronic metronome, tapping away at 50 bpm.
None
of the techniques on Whole Numbers are necessarily fresh (the swingin’
sixteenths not withstanding), but Casino versus
- Otis Hart
Other
music – September 2002
Casino
vs.
Boards of Canada, Dettinger, Gas, et al. That he arrived with a sensibility
equal parts technological so much as emotional did him no disservice amongst
this arena. Those who have been able to find his work have seemed to prefer it
in many cases; the moments therein which capitalize on a potential for unfolding
in mesmeric, seemingly truly heartfelt ways do accrue often enough to be, I
think, the 'kicker.' Not for this dude the rarefied air of obliqueness and/or
ambivalence. It's music from the heartland after all. Lovely.
-
dan hougland
grooves #9
On
Whole Numbers Play the Basics, Casino Versus Japan (aka Erik Kowalski,
proving that more good things than beer can come from Milwaukee) has landed on
his third label in three albums, and it’s a good fit- the enveloping,
welcoming-yet-slightly-alien tones of opener “Single Variation of Two”
recall Carparker Marumari, or that oddly soothing alien who shows up to explain
what the hell happened at the end of A.I.
The
unhurried tempos of tracks like “Aquarium” will of course draw comparisons
to Boards of Canada, but when Kowalski adds drifting pads playing an octave
apart, it’s clear that he’s instinctively drawn to some of the same terrain
rather than just biting a style. Even the most Boards-y track, “Em Essey,”
has an insistent melody played in big steps that hop up and down the scale in a
way that the Boards, who barely touch their knobs, would be afraid to do. In
probably the strongest testimonial one can give, “Where To?/What For?” has
such a massive, wavering synth laid over a stupidly lethargic hip hop beat that
it made me feel like my head was too heavy to keep up. That’s experimental for
ya.
–Rob
Geary
bbc
online – October 2002
It's
a cliche that electronic music is by definition lacking in warmth and humanity,
but judging from the present endless stream of glitched up abstraction
flowing from the hard drives of Powerbooks all over the world, it's one that
holds a fair amount of water. There's still the odd record that bucks
the trend though, and this second album from Casino versus
Kowalski's
approach is lo-fi, organic; shrouding billowing synth arppegios with clouds
of reverb and layering lush sustained chords over dirty analogue machine beats,
his mournful, low key electronica offers a welcome alternative to microscopic
sonic manipulation and squeaky clean digital noises. His reference points are at
once familiar but hard to pin down; Brian Eno, early Kraftwerk and even Gary
Numan are hinted at, along with (on the sublime 'Making Lake Park in the Sun')
the queasy throb of My Bloody Valentine at their most atmospheric.
Kowalski
keeps his pieces short, with ideas never outstaying their welcome (there are 14
tracks in 45 minutes). Like faded polaroids or old super 8 film, they seem to be
evocations of times or places past, long childhood summers now a distant memory.
The piles of tape hiss or crackle that hover over some pieces ("You Were
There", "Slo Bid Bellwave") act like vaseline on a lens, lending
a hazy, smudged quality, almost as though the music was restored from
ancient, flaking tapes unearthed from some forgotten attic.
The
layers of lush textures will keep the receptive ear in a blissful state of
arousal, sometimes even overloading it; this is music that's not afraid to be
beautiful. What stops it became mere flotation tank fodder is the
sense of unease that sometimes lurks beneath its sublime drift; it's as if in
Kowalski's musings on memory he unearths some things he'd rather forget. Utterly
gorgeous.
- Peter Marsh
Stylus
Mag (
It's been 3 years since the release of Erik (aka C vs J) Kowalski's much talked
about Go Hawaii album. While Go Hawaii's instinctive melodies and sun drenched
tones provided the balmiest of summer soundtracks, it merely hinted at
possibilities of music to come. Whole Numbers Play the Basics affirms that
potential immediately as the flicker of album opener "Single Variation of
Two" detonates euphoric explosions of vibrant sound. Merging guitars and
other traditional instruments with electronics, a keen attention to the
structures of rhythm and melody is readily apparent. Synthetic bleeps surface
from muted depths, resonating hums dissipate into crackling particles and
whirring bursts of energy entangle nebulous beats in C vs J's futuristic vision
for pop music. Whole Numbers... is the product of boundless imagination and
electric dreams.
-Don Bargenda
Whole Numbers Play the Basics is another triumph for Casino Versus Japan's Eric Kowalski, and if it just misses carrying the freshness and sense of imagination evident on Go Hawaii, it's a better record for being slightly less precious. Yes, the children's vocal samples of "Very Sunny" would sound odd on this record of chilled grandeur. Similar to Tomita LPs from the '70s, the album manages to sound evocative and elegant yet alien and remote, like a drawing room in space. Scottish electronica heroes Boards of Canada are still the closest touchstone, due to a similar emphasis on stately breakbeats, a track listing that alternates long pieces with short vignettes, and a series of light, airy melodies that frequently sound as though warped by long periods spent trapped in nearly forgotten keyboards. Still, Kowalski's work is so strong and distinctive that it stands alone. Aside from the short tracks, nearly every one of the first eight songs is as delicious as anything produced by indie-electronic pop movement of the past five years.
—
John Bush
boomkat – sept 2002
If
we were asked to name a single record that we have felt most affection for here
at the neck over the last 4 years, Casino Versus Japans sublime Go Hawaii would
be an immediate and easy choice. Having been released inconspicuously, without
the usual hyperbole and fanfare that accompanies so much of what goes on in this
scene, Go Hawaii somehow managed to capture a knowing innocence that had simply
been missing from electronic music for far too long. Simple gestures that
wrapped up a colour-drenched hawaiian sunset with opaque references to
melancholy and childhood, spacious reverberations and an intimate understanding
of melody, pop and playfulness made for a listen which simply did not fail to
warm and impress on first impact. A couple of years on and a few thousand new
fans later, CVSJ finally return with their long anticipated third album - Whole
Numbers Play The Basics. Utilising a similar juxtaposition of tone and style,
the immediate impact of this excellent record is one of familiarity and joy. The
construction is a little more rugged and obtuse, but the underlying emphasis on
self-reflection and euphoria is, once again, untouchable. From the bedtime
lullaby of Em Essey - finding Isan and Boards floating to the same rhythm - to
the closing click-ambience of Slo Bid Bellwave, this is another gorgeous,
fluffy, life-affirming piece of work. Highly Recommended.
Swingset
Issue 3
You know electronic music has reached a certain benchmark when an album comes
along that reminds you of the good old days. Back when Aphex Twin was releasing
listenable records, before micro editing spawned the current glitch bonanza,
there was a time when the holy grail was atmosphere. Artists like Global
Communication, Future Sound Of London, and the aforementioned Twin brought
electronic music out of the clubs and into your bedroom. Taking inspiration from
Brian Eno’s ambient soundscapes and the luminous arpeggiated chords of Philip
Glass, a warm, dreamy tone washed over the scene. It was a special time, when
aging Hawkwind fans needn’t fear the outside world.
Casino Versus Japan’s music hearkens back to this golden era, adding a
new twist to the aesthetic. The brainchild of
- mark wyman
Almostcool.org
– October 2002
It
was just about half a year ago that I first ran across the name Casino Versus
Japan while scanning over the Carpark web site to scope out future releases.
Doing a bit of research, I found out that it was the alias for one Erik
Kowalski, and that he'd released a couple albums previously on other smaller
labels. Two days after I read that, I stumbled upon his first, self-titled
release in the markdown bin of a local store, and felt like it was some sort of
sign. In fact, the album was over 70 minutes of drifting dreamscapes of sound,
punctuated by the usual beat and random whatnot. It had lots of interesting
textures, but simply went on for too long for me to really get into it.
Carpark
is one of those smaller labels that has built up a super-consistent release base
in my mind, so even after I'd read scattered reviews of Casino Versus Japan's
second disc Go Hawaii, I leapt at the chance to pick up Whole Numbers Play The
Basics, and for the most part it's an enjoyable trip. The most prominent
difference between this release and the first one that I heard from the group is
a much more highly developed sense of programming and beat structures. While
most tracks still rely on heavily layered, lush sound sources, there's much more
of a propelling agent on the release, which is something lacking on the first
release that tended to make it lapse a bit.
Opening
with a gorgeous swell of layered, fluttering synth textures on "Single
Variation Of Two," eventually a distorted, chunky-as-hell beat drops and
gives the track a nice dynamic, mixing the warm, soaring sounds with luggy
low-end. Those who found the new Boards Of Canada album (Geogaddi) a bit too dark for their tastes
may find themselves squealing with glee upon hearing it. While much of the album
is put together with variations on the same premise (multiple layers of lush
synths swirling around catchy beats), it's a combination that surprisingly
doesn't really wear out its welcome.
Part
of that can be attributed to Kowalski's ability to create melodies that stick in
your ear despite their exterior simplicity (or is it the most simple melodies
that do that anyway?). The crux of "Em Essey" is essentially nothing
more than a walk up and down the scale by an old school synth sound while a
click hop beat patters along behind it while "Summer Clip" juxtaposes
a skronky keyboard melody with a lush wash of sound and some more of those
chunky beats. Towards the end of the album (particularly on the last couple
tracks), the album drifts a bit more into the lush dronescapes (although the
beats and lighter melodies still creep through occassionally), and on the
closing "Sio Bid Bellwave," the distorted beat takes the majority of
the track just to barely pound through the thick haze. In the end, there isn't
anything on the release that hasn't been done before, but it's enjoyable
nonetheless. Touching on everything from early Warp Records releases like B12
and Black Dog to current artists like the aformentioned Boards Of Canada, it's
playful without being bubblegum, and introspective without being too dark.
Rating:
7
-
aaron coleman