Jeff Witscher, how do you do it? After 12 (!) releases of varying size, scope, and packaging in 2010–including a full-length, post-apocalyptic dream of a soundtrack, Porceleain Opera, Witscher’s latest moniker, Rene Hell, is possibly his most prolific. We’ve just eclipsed the half-way point of March, and Rene Hell is back with another LP, The Terminal Symphony, and it marks a distinctly different direction for this highly prolific composer.
And for the first time in writing about one of these electronic mavens (noise and avant garde musicians), composer seems pretty darn apt. Witscher’s latest foray is a beautifully sparse and engaging take on classical and chamber music. This is less the line of Stars of the Lid’s epic, orchestral, cinematic swells and sustains, Terminal Symphony plays a bit more to Erik Satie’s minimalist sensibilities. Hell gets a bit Philip Glass-y sometimes, a bit baroque, like much of Witcher’s output (under just about any nom de plume), it’s difficult to pigeon-hole but more than worth your time to parse through.
Type Records, who also gave us Witscher’s 2010 full-length, put out The Terminal Symphony yesterday. There’s a special edition of 100, pressed on white vinyl which includes a cache of unreleased cuts entitled The Hilton. The remaining vinyl copies will come in classic black shellac, and of course there are CD’s and digital versions available. Any and all, legal copies of The Terminal Symphony can be purchased via Boomkat here.

You can stream the opening track, “Chamber Forte,” below and Type Records made the whole she-bang streaming on it’s site yesterday morning.

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