Independent unit of Sleepy Town Manufacture from Nizhniy Novgorod (Russia) - Stanislav Vdovin from time to time taking part in creative work STM and working at his own project Unit 21. He released his original September-October with four tracks on German netlabel Thinner. One half of the material was played by him alive during concert tours over the country, the second part - recorded at home.However architecture of tracks gains uniqueness through its techno - reverie from STM, especially through debut halfambient album Melanoma. Nevertheless there is hypothesis that Unit 21 likes very much this aspect in their early creativity.
Tracks of this mini-album include also a great amount of various lost piano passages, basis - minimalist static techno-rhythm in mixture with unreal number of clicks of old vinyl. It seems that it became an indispensable attribute of lo-fi sound for such music and all its followers.
The first track "September, 26th" suggests its listeners to visit deserted urban corners of deserted outskirts not digging into them deeply but swimming by on a train or a boat. Light dub-ambient stuff like mine fields surrounds a listener and draws his attention away from that happening outside - hypnotic trick necessary for the artist of contemporary life.
Melancholic gray, fuzzy sounds slide by like monotonous rambling sketches of real industrial landscapes and ruins which you pass by on your train. There also appears techno-industrial basis for track "September, 10th", it adds up even more drive to the mood. At the same time it doesn't change anything in the movements of ripplings. Something dark and clear from detroit minimalist techno can be evidently mentioned - constant strikes of bass drum, few changes in the composition's scheme. Everything is minimalist and monotonous as well as in album Consumed made by Plastikman. The only thing which is added and rejoices during the track time is a mixture of flute sounds and other wind instruments. Their melodies are probably borrowed from Central Asia but not from Western regions. It's a great finding for a musician - everything gathers into techno-shaman ritual and melts away like haze.
"October, 16th" begins with the sounds of ancient clocks irrelevant and forgotten nowadays. With their appearing metal constructions start turning into ambient pouring landscapes with rushing and rolling rhythms of dance music.
"October, 18th" - true dance microelectronics with wonderful drums. In general it is an obvious case of music of 90s. Nowadays we can rarely listen to such tech/dub presentation - sunny track brings the picture in a special portal from any time-period which you want to visit and examine. Perhaps in this very way the strains of autumn sun reflect on glass, dusty glass on neglected factories - any other variants for stalkers are possible.
- Thinner