The electronic duo Immersion began in the mid-1990s, consisting of Colin Newman of Wire and Malka Spigel of Minimal Compact. After a break in activity, they returned in 2016 with Matt Schulz from Holy Fuck contributing on drums. New release Nanocluster Vol. 2 further extends the collaborative nature established on the prior volume from 2021, inviting outside musicians to be part of the scheme, this time multi-instrumentalists Thor Harris and Cubzoa a.k.a. Jack Wolter from the band Penelope Isles. Schulz returns on drums throughout. Sharp and striking, the set is available June 14 on double 10-inch vinyl and compact disc through Newman and Spigel’s swim~ label.
Immersion’s first release, Oscillating, emerged in 1994 during a fertile time for techno music. The sound was crisp, indeed at points clinical (in a positive sense), but with elements of tension and atmosphere that reinforced the post-punk background of the duo (Wire’s music being crucial to the definition of the post-punk style and Israel’s Minimal Compact, who debuted in 1981, are a notable part of post-punk’s global expansion).
As the years have passed, Immersion has been an on-off (and now on, again) proposition, but with a discography that’s been reliably satisfying, and these Nanocluster volumes, especially so. Part one, also a 2×10-inch and CD, features Immersion collaborating with the post-rock duo Tarwater (side one), Laetitia Sadier of Stereolab (side two), and fellow electronic musicians Ulrich Schnauss (side three), and Robin Rimbaud a.k.a. Scanner (side four).
For Nanocluster Vol. 2, the contributors list is halved, but Harris and Cubzoa get a full 10-inch each. For the record, Harris brings his tuned percussion instruments, and plays clarinet and trumpet. Cubzoa plays guitar, adds vocals and more. It’s quickly discernible that Immersion’s sound has progressed significantly since the release of Oscillating.
“As Long As” opens the Thor Harris collab with a sturdy, gradually building and unwavering instrumental structure, but songlike, and with alternating spoken and sung vocals, assumedly by Spigel. Contrasting, the cyclical mallet percussion in “Just Close Your Eyes” radiates a bit of a Minimalist feel, as the captured spoken audio dusts off an ’80s post-punk maneuver to appealing result.
“The House of Thor” is layered and highly melodious after it kicks into high gear, but it’s the gorgeous “Rotations” that’s the standout of the tracks with Harris, its keyboard resonances and repetitions almost Dan Deacon-like, a similarity that carries over to “In Snow,” as does the lack of vocals. “The Wizard’s House” is the last of the Harris selections, a blend of post-rock and Krautrock that thrives on a killer live drum loop.
The tracks with Cubzoa are a distinct kettle of fish. Opener “I’m Barely Here” and “Other Ways” are both reminiscent of the ’90s Too Pure sound without being imitative, the former warmly pulsing and the latter alternating spoken words by Newman with singing by Spigel. “In the Universe” is an even more vocally focused pop proposition and the highlight of the Cubzoa collab.
“Not About Me” is a trip-hoppy scenario spreading out to over six minutes and with more very solid spoken words by Newman. “Neptune” is the longest track of all the Cubzoa collabs, breaking seven minutes as it establishes a groove betwixt electronica and post-rock. It closes Nanocluster Vol. 2 in strong fashion and reinforces the vitality of the enduring Immersion project.
GRADED ON A CURVE:
A-
