REVIEW: Konduku - Gazoz EP [Bitta]
Following recent output on Amenthia and homeland favourites Nous’klaer Audio Ruben Üvez returns to Bitta with the Gazoz EP. Üvez better known as Konduku pushes the resonance of his sounds, in what is a shining example of his technicality. Despite this, Konduku manages a cohesive palette that doesn’t come off acute, further enriched by the dramatic and ostensible moods employed across the release.
The lead tune, Gazoz, casts a warehouse sense of space and matches the energy of a metal concert. Initially, the low-end elements have a loose aqueous air, but as the nerviness builds, they are absorbed by chaotic rhythms which border between rolling & hopping. Naturally, we are still suspended from those pounding synthetic pulses, metered here in blocks of 12. It all feels quite anthemic, not something commonly associated with this style of music. A dwindling counter melody brims later on but Gazoz is fastened down by the angsty set of motifs that thread underneath one another to symphonic effect.
Let’s not forget this EP comes to us on techno icon DJ Nobu’s label. So it comes as no surprise that the A2 track Mikros massages us into a cool sweat with a rounded submerged bassline. On the top kalimba-esque synths shuffle as it climbs melodic steps. Shadows of Detroit techno appear, some of the fine Robert Hood comes to mind, although Hood’s minimal music alludes to vehicular pistons whereas Mikros has an intensely locomotive effect. Swerving off our ears a spooky whirring synthesizer rattles off in the distance. It is a delicate Yin to Gazoz’ Yang – which is exemplified through placing the listener at different points of proximity. Mikros has the listener leaning in whereas Gazoz exhibits itself explicitly.
Luna’s sinister syncopated phrase reminds us of Gazoz but now it appears in a new form as we see it in a different sequence. That sequence is dubbed lusciously filling the space with echoes and percussions in an auditory millefeuille. It is driven by a more linear shuffling groove and somehow the skippy kick pattern surprisingly descends into a certain trip. Feedback layers into another beast, never weighing down. The energy of Luna bounds like a nice run on dewy grass, rewarding with a little bit of friction. A set of juxtapositions that render amazement in its beauty.
Inici moves into a different gear with a whirring almost reverse bassline creating polyrhythmic low end pressure. These sub frequencies are not graspable, rather they are felt as they hammer the diaphragm. A trance-like plucky synth lead cleverly lifts us through the arc, confusing an impatient listener. It’s an undulating arp going on transcendental. The seemingly simple percussion builds tension and evolves skittishly. It’s a nervy existence for Inici, being sent down the worm hole or lost deep in the stratosphere.
Both the A-sides employ frontal physicality force to them while B-sides, Inici and Luna lean slightly more toward atmospheric. However in those B-sides also lies a ruse because all songs here pertain a certain drive that works well for Bitta. Overall, I get the sense that Konduku enjoys setting listeners off in dark woods that are filled with lots of wild fruits before drawing them back to familial paths. The Gazoz EP establishes and inhabits ginormous fields of space that are justly torn down by skippy and at times frenetic beats. One thing that remains is that Konduku has achieved a thrilling cinematic sense of angst commissioned by powerfully pulsing synths on the mercurial Gazoz EP.