I'm sitting here thinking of sounds by artists that are comparable to Paul Wirkus' new album, Intelleto d'Amore. Tim Hecker's synthy melodies? Check. Fennesz's use of clicks to give the music a sense of texture? Check. Jan Jelinek's use of loops as a foundation for other elements? Sure, it's got that as well. You can see where I'm going with this. Although Intelleto d'Amore is an enjoyable album, it's nothing we haven't heard before from the electronic glitch genre.
It's a supply and demand issue, just like they talk about in that Economics class you keep putting off. Laptop music (the kind that stiff Germans seemed to have perfected over the last five years) has moved east to Poland, where jazz drummer Paul Wirkus has picked up the ball and tried to run with it. To his credit, though, this album is certainly nice on the ears. It's minimalist in the best of ways. There are no 4/4 house beats mixed in, no diva-like vocals, nor anything a car company will find appealing to put in a commercial. The repetitive loops on the title track bring to mind Jan Jelinek's work with minimalist samples, and Wirkus' use of mini disc players mixed with effects, rather than the standard Apple laptop, showcase his ability to take chances and try new angles to get the desired end results.
But ultimately, Intelleto d'Amore is a largely forgettable release, for it never distinguishes itself from the rest of the field. Moments such as the Underworld-esque vocals (courtesy of Wirkus himself) on "Blask" fail to excite the listener. Focusing on foundation and structure rather than effects and treatment, Intelleto d'Amore is a warm release in some ways, but it fails to open any doors and simply trails in quality with the pack of Wirkus' Austro-German counterparts.
1. Wlot
2. Blask
3. Physikerin
4. Intelleto d'Amore
5. Fascimile
6. Aldrin
7. Breakfast Dance
8. Wylot
1. Wlot
2. Blask
3. Physikerin
4. Intelleto d'Amore
5. Fascimile
6. Aldrin
7. Breakfast Dance
8. Wylot
More about: Paul Wirkus
