Dreissk – The Finding

Dreissk - The Finding

CD, n5MD, 2011

“The Finding” comes as the debut release of American artist Kevin Patzelt, a.k.a. Dreissk. Released under the San Francisco-based n5MD label, home to material from known and respected scene artists such as Bitcrush, Lights Out Asia and Keef Baker, the selection of Dreissk’s work gives both a certain assurance as well as raise expectations towards the album.
“Beholden” is quite deceiving in that regard as an album opener, as the shortest and most melodic of tracks, inviting the listener “To That Which Binds Me”, which, by accident or on purpose, may very well be the best title/track placement I’ve seen in a while, as the feeling noticeably shifts from the melodic and eerie to a harsher, industrial-tinged beat, hinting at a greater range of sound than originally expected and making sure the listener sticks around for what is to come. “Depart”, however, keeps playing around with the feel, its drones elevating the pace slowly as they are accompanied by piano in a melancholic soundscape.
“Unknown Discontent” comes as a burst of energy in comparison to the more passive sound of the previous track, like a soundtrack to an impromptu demonstration, growing in musical strength as more and more elements join in one of the best moments of the record.
The mix of glitchy, melodic elements in “Persisting Memory” somewhat halts the previous progress without sounding totally out of place, especially as it serves as an excellent entrance to “Emergence”, which rides on the previous track’s electronics for a while before guitars and drums shift to a more industrial post-rock sound. Somewhat shorter, but sharing both the layout and feel, “Not Enough” follows suit, giving us the most prevalent use of strings on the album in what I must say is a great display of musicianship.
“Disappearance” works great as an ambient cool-down to the previous tracks, as well as a reminder of the forthcoming ending of the record, delivered through the more energetic “Floating to Drown”. Interestingly, this unusual swap of tracks leaves the listener wanting more, the energy of the final track coming through as a glimmer of hope after the bleakness before it.
Perhaps it’s the time in Seattle, or the overall feel of our age that has influenced Dreissk’s work, but one cannot help but draw parallels to post-apocalyptic or dystopian imagery and thoughts when listening to the album. And any record managing to do that, especially during the marketing bombardment of happy-go-lucky Christmas imagery that’s taking place at the time of writing of this review, is a good record in my book. And if you daydream of decaying cityscapes, burning skies and nuclear winter? Then it is a great record. Kudos to Mr. Patzelt for that.


— George Mouratidis