Quitno returns from his 10-year break with a minimalist 66-minute document squeezed from of a small machine. In two parts.
The newly edited, short description for this album: This is MQ’s second release, after his first album Sleep Over Pieces Vol. 1 in 2007. He’s a friend of Dimitri Grimm, who is currently very busy quasi-existing, and who meets Quitno on an approximate 2 year basis, despite and because of their on-going quarrels based on jealousy and rivalry.
Meetings are always initiated by Misel, out of the blue and usually under some ridiculous pretext, i.e. «Cat has lost all its hair after looking me in the eye. Felt deeply satisfied and scared. Cat needs new fur – can you help me out? M.»
Unlike Sleep Over Pieces, Die Nähte der Tage was created on a single piece of music machinery, a synthesizer made to be programmed with/play back patterns. Misel likes the sound of analogue synthesizers, but he doesn’t own any. Except for a little, blue box he won for cheap around the time. Spring. Happily he decided he really had to use it, and use nothing else for a couple of months. The outcome is a a 66 minute long, evolving machine music continuum comprised of 128 sometimes more, sometimes less abruptly changing sequences. Arpeggios, chords, signals and textures, steadily flowing through an ominous, wafting, responsive space. Through darkness and light and everything inbetween, drenching the room in a different mood every 8 measures. If this recording is about anything apart from those things, then it is about circles and cycles. And the passage of time (if you look at the nearest clock, you’ll notice that the second hand is always in sync with this recording. For the simple reason that Misel is inside your clock, watching you listening to him).
The outcome appears to reference, by its working and hypnotic nature, minimalist composition based on repetition.
Out October 19, 2016: Misel Quitno – Seams of the Days / Part One