13/06/2017 by Matjaž Ambrožič 0 Comments
What we’re kistening to: Ichisan - Aperitiv
”Aperitiv” is, eponymously, a true appetiser. Instrumental, semi-hypnotic, retro-cosmic, appealing, yet still a bit dry. Not unlike an enticing sponge cake with a layer of jam that’s too thin, which makes our mouths water in a heartbeat, but still has us reaching for a cup of tea in the next.
Ichisan’s nu-disco generally doesn’t stray from the established old-fashioned electronic tempos. This means that classic disco (typically identified at between 115 and 125 beats per minute) is slightly stalled or slowed down to 100, sometimes 105. The photographer who later on kept quietly and persistently turning his attention to music production is no eccentric. His music endeavours, outside a close-knit group of fans, didn’t draw a lot of attention for over two decades. A huge fan of all things guitar on Red Hot Chilli Peppers’ albums, he left several traces on Ali En’s second album “Smetana za frende”, but his band Party Sons didn’t make is past a one-time appearance on a CD that accompanied the successful alternative stage production Grapefruit (Theatre Glej, 1997, dir. Iztok Lovrič). His song “Vedno padem dol” was produced by Žare Pak.
All of these are attributes that firmly anchor Ichisan in what are now already the good old days.
“Aperitiv" isn’t enhanced by any particular artistic virtuosity. But when it comes to an unconditional adoration of the legendary postulate of proto-disco or the tribute to synthetic staccato that is American composer Gershon Kingsley’s 1972 track “Popcorn”, it’s actually better to remain indifferent towards excessively convoluted compositions.
What’s more, Ichisan (aka Igor Škafar) had no qualms about ignoring the mere possibility of including a vocals-heavy chart-climber on his first album. He paid absolutely no attention to the whims of a smart aleck journalist. “Aperitiv" has no overtly obvious pop or dance hits you’d normally hear in the background of a gaudy music video or on some second-rate FM station where people call in to vote on their favourite songs. It all sounds thoroughly retro and smells only of vintage synths. All of this further reinforces Ichisan’s artistic integrity and underscores the earnestness of his commitment to the art form.
This record was released by a Haag-based label, and prior to it several of the artist’s singles were presented through niche British and Scandinavian record labels. Ichisan is currently preparing for his third tour of the US and he’s recently wrapped up his first performance in Paris.