Telefon Tel Aviv's 3rd album shrouded by tragic news of death
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Label: BPitch Control
Year: 2009
Format: CD
Charles Cooper, III in memorandum
Coinciding with Telefon Tel Aviv release of their third full-length album Immolate Yourself, the electronic music scene was saddened to learn of band member Charles Cooper III’s untimely passing. And maybe these apparently troubled times cast a shadow over the album production-wise too, as the band again renews their sound and come off sounding like a electro-infused progressive pop outfit that bears resemblances to many old favourites. The album – which may now be their last – also sees the duo move from Chicago-based Hefty overseas to Berlin’s BPitch Control run by Ellen Allien.
It starts out with the repeating rhythms of The Birds which fades in a recurring vocal chorus to ever-strengthening beats and a sickly lead synth. Immediately it is recognisable; that cutting precision of Telefon Tel Aviv’s crispy clear production and microscopically detailed programming of rhythms with each beat sticking needles in you. The duo’s production methods changed for this third album; gone are the Rhodes and guitar instruments and in place of guest vocals, Cooper and Eustis use their own voices. And the way the two guys started working together – writing tracks from left to right in music software in favour of writing songs ahead of mapping out – has been shelved and is maybe another reason why the overall sound of the album feels different now. The opening piece sounds like it could have been something out of the repertoire of BT or Sasha back in their progressive, tech house days – with its near-euphoric opening with layered vocals and the monotonously chanted lyrics “the birds remind me of what we made / the birds remind me of what remains”. It feels like a re-cap of Map of What is Effortless, just to get the listener back up to speed which is subsequently left alone. The techy elements reminiscent of BT’s progressive breaks kick up the pace a notch to produce some fine, head-bobbing electro-pop at the expense of aforementioned micro edits.
On a general note throughout the album – a presiding element is the slightly warbly, offbeat atmosphere on the record. Synth sounds that phase in and out of tune and galloping drum patterns, alien vocals and gloomy soundscapes colour the tracks and now in retrospect of the tragic events that befell one half of the duo, maybe the end result of Immolate Yourself bears some signs of a troubled mind. For this long-time fan of Depeche Mode, there are pieces that are very reminiscent of their music profile; spacious and industrial electronic-influenced pop and vocals bearing resemblance to Martin Gore, as seen on both M and Mostly Translucent, whereas the intro to Helen of Troy brings associations to a gritty-sounding A-Ha to mind. Quickly dispelling that picture though reveals a warm and lovely textured, fast-paced synth-pop tune and a bassline that feels like a chase. Later tracks, Stay Away From Being Maybe and You Are The Worst Thing in The World also find this atmosphere and little by little reveal the group has still concentrated on sewing in intricate details in seemingly, traditional synth-laden pop tracks – and the recurring feeling of something skewed or imperfect is ultimately, but doubtfully, convinced there is some beauty in that which does not follow conformity.
