You need this, the first (proper) solo album by the wonderful Silvia Kastel - who has been a fixture of the European underground/avant-garde since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia (“It’s like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu’s Dub Housing, lit the fuse and, ahem, stood well back” – Julian Cope), including collaborations with Smegma, Factrix, Aki Onda, Gate ++.
Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, Isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel was out to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Hosono’s Philharmony especially). The formal artifice of muzak / elevator music, the intros and outros of generic pop songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the decidedly "alive" synths in the jazz of Herbie Hancock’s Sextant and Sun Ra: all these things were touchstones for Air Lows’ conception and composition.
Though used sparingly, Kastel’s voice remains her key instrument, whether subject to dissociative digital manipulations as on ‘Bruell’, delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italian studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and empty spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of ‘Spiderwebs’ and ‘Concrete Void’. These later tracks are reminiscent of 2015’s magnificent 39 12”, Kastel in the role of numbed, nihilistic chanteuse stalking dank, mile-long tunnels of reverb and sub-bass. Throughout, Air Lows is defined by contradiction and emotional ambiguity... a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.