SOHN – Rennen

Duck Free
SOHN – Rennen


The secret ingredient that made folks really taste Irene’s peach cobbler was sneaking in some cherry pits. Could about break your jawbone by accident. The secret of her apple brown Betty was mixing in plenty of sharp slivers of walnut shell.

When you ate her tuna casserole, you didn’t talk or flip through a National Geographic. Your eyes and ears stayed inside your mouth. Your whole world kept inside your mouth, feeling and careful for the little balled-up tinfoils Irene Casey would hide in the tuna parts. A side effect of eating slow was, you naturally, genuinely tasted, and the food tasted better. Could be other ladies were better cooks, but you’d never notice.

(Rant – Chuck Palahniuk)

This should give you a full sense of the way that I am forced to consume all media. Any mention of ducks and I will be sent apoplectically into an anaphylactic bout of terror.  As a result I listen to music deeper, better, and just generally closer in every way than any other human being. Does that make me qualified to review music? In no way shape or form. Can I listen to music and report the presence of ducks? Yes, albeit reluctantly.

I listened to this album off of my festy pal Trylvia’s recommendation. We crushed every festival from Digital Dreams all the way to VELD this past summer. We took in our fair share of molly-tinged laser shows, so it’s fair to say I was expecting more of the same.  SOHN’s Rennen is more like a swig of Nyquil with a brief but controlled adjustment of a reading light. And that’s fine too. It paired nicely with a thorough audit of my protein intake and protein goals.

Rennen features visually striking album art, utilizing contrast, colour and shape to give a fairly accurate representation of the music’s sonic qualities. The art is also certifiably duck-free. Off to a good start.

This album is like a Russian nesting doll. The first one is the biggest and prettiest (like a 6.5) and if you open her up, there’s a smaller doll, but she’s not less pretty because she’s smaller, you know?

The first track, Hard Liquor features a lush and layered mix of synths, voice tracks, and vocal samples as well as an excellent soaring synth section to bolster the chorus. The album tends to follow a reverse pyramid format wherein each subsequent track the instrumentation gets more and more limited and the sonic aesthetic takes on more of a minimalist approach.  At the tip of the reverse pyramid is the 10th and last track, Harbour. It starts with about a minute of a single vocal track and eventually leads into the sound of SOHN urinating on a pile of leaves over some quiet, twinkling synths. And still manages to sound alright.



Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s