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10"
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ALB 011EP
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RSD 2017 release. Israel-born, Berlin-based artist Ofrin follows her 2016 album Ore (ALB 009CD/LP) with Remixes. The EP opens with a long, deep, dubbed-out club remix of Ofrin's "Black Box" by Berlin-based Canadian Deadbeat, who augments the original's hypnotic pulse with his unique touch. Pilocka Krach opens the B-side with a wide-open ambient remix of Ofrin's "Direction Eclipse," before Ofrin and co-producer Marco Haas aka T.Raumschmiere close the release with a cover of "Träume," which was made famous by Françoise Hardy in 1970.
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CD
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ALB 009CD
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Necessity is the mother of invention. Creativity theorists would now most likely identify frustration as a driving force for creative activity. Ofrin flips this notion on its head. What drives the Berlin-based Israeli is the creation of an absence. She offers her creativity to serve the art of omission. In doing so, she proves herself as a master of the art. Ore, produced by fellow Albumlabel artist T.Raumschmiere, is defined by the musical elements it lacks, causing tension and drive throughout. Artists often tend to play into listener's expectations, but Ofrin refuses to fall victim to that practice. Her fourth album opens with "Best Request," which might be called a new form of EBM -- something akin to disembodied electronic body music, as contradictory as that may sound. Orchestral hits, filter progressions, and saw-tooth bass create an unmistakable '80s sound that will warm the heart of every self-respecting old school waver. The lack of beats is what defines this piece, catching the listener off guard and causing a slight abstraction. This variant theme occurs throughout the entire album. "Direction Eclipse" is a dark ballad drenched in trip-hop nostalgia, taking the best from the genre. Ofrin achieves an orchestral grandeur without pathos. Her clear yet never predictable melody stands alone without any orchestral backing as it is forced into modesty, virtually intimate. Ofrin resists the temptation to overload the piece with strings, making it a dark, delicate lullaby. We do get a "proper" EBM track in the end with a slapping snare and metallic synth-bass. Ofrin even takes on the classic ragamuffin style, opting for a barebones approach of pure vocals, throbbing synth, and a noise brass groove. Ofrin uses simple arrangements to great effect, lulling the listener into a false sense of security before taking it all away. Ofrin is the master of her own voice, not showing off any flourishes for their own sake of it, and exercising restraint at all times. She avoids the excessive use of expressive bel canto techniques in favor of unusual melodies. Her voice is cool and composed. Her vocals are confident and incisive -- free of vanity.
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LP
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ALB 009LP
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LP version. Includes download code. Necessity is the mother of invention. Creativity theorists would now most likely identify frustration as a driving force for creative activity. Ofrin flips this notion on its head. What drives the Berlin-based Israeli is the creation of an absence. She offers her creativity to serve the art of omission. In doing so, she proves herself as a master of the art. Ore, produced by fellow Albumlabel artist T.Raumschmiere, is defined by the musical elements it lacks, causing tension and drive throughout. Artists often tend to play into listener's expectations, but Ofrin refuses to fall victim to that practice. Her fourth album opens with "Best Request," which might be called a new form of EBM -- something akin to disembodied electronic body music, as contradictory as that may sound. Orchestral hits, filter progressions, and saw-tooth bass create an unmistakable '80s sound that will warm the heart of every self-respecting old school waver. The lack of beats is what defines this piece, catching the listener off guard and causing a slight abstraction. This variant theme occurs throughout the entire album. "Direction Eclipse" is a dark ballad drenched in trip-hop nostalgia, taking the best from the genre. Ofrin achieves an orchestral grandeur without pathos. Her clear yet never predictable melody stands alone without any orchestral backing as it is forced into modesty, virtually intimate. Ofrin resists the temptation to overload the piece with strings, making it a dark, delicate lullaby. We do get a "proper" EBM track in the end with a slapping snare and metallic synth-bass. Ofrin even takes on the classic ragamuffin style, opting for a barebones approach of pure vocals, throbbing synth, and a noise brass groove. Ofrin uses simple arrangements to great effect, lulling the listener into a false sense of security before taking it all away. Ofrin is the master of her own voice, not showing off any flourishes for their own sake of it, and exercising restraint at all times. She avoids the excessive use of expressive bel canto techniques in favor of unusual melodies. Her voice is cool and composed. Her vocals are confident and incisive -- free of vanity.
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