Beauty and the Beast (You Can Say No)

Get In

After something of a solo hiatus, Peter Rehberg’s Pita is back in town to resume his sporadic series of phrasally verbed viands with Get In. Listeners more familiar with his work as part of KTL with Stephen O’Malley had best leave expectations at the door, which is more or less where his work on that project’s sound starts and ends: with the short, dark ambient drift of ‘Fvo’ just a swift, distracting feint, followed in no short order by a sucker-punch of Russell Haswell-esque digital gibberish – ‘20150609 I’, which I suppose is a snippet of Pita’s trumpeted ‘surprise return to live’ in 2015. But if it’s meant as a sensory postcard of said event, then its brevity is its chiefest virtue: (also) clocking in at under 3 minutes, this non-sequitur’s placement is a provocative anomaly, preened into plausibility by the press people as extending ‘the perennial Pita sound into a paradox of intimidation and beauty’ (indeed) – a statement that stinks of retro-fitting.

At the same time, the impression remains of things done by design, and a devil or two in the details… the record is dedicated to Thomas Jerome Newton aka The Man Who Fell To Earth and conceivably framed by the same lens that shot that overwrought mess of a movie, where transitions between each troubled stepchild of a track mirrors the stylistic collapse of one low-energy scene into another. Get In is an unashamed mess and an occasionally sightly one, but which just as easily passes into and beyond the vanishing point of interest. Even the granulated, tectonic growl of ‘Aahn’ and the glistening vortex of ‘Line Angel’ are but token band-aids on a perplexing physical condition; while the the bi-polar, synth-wave violation of ’S200729’ is visibly a symptom. There is a plot twist though: we might anticipate a final sprawl into booze-numbed oblivion to parallel Newton’s fall from grace, but instead ‘Mfbk’ showers patient listeners in 10 minutes of redemptive bliss. Call me impatient, but what took you so long???

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