JOHN LAKVEET

Epikus

Groove Unlimited (2003)

Review by Travis Briggs

Epikus was my first experience listening to a John Lakveet album, although I had heard of him as a result of his Silent Mars collaboration with Dom F. Scab, who is undoubtedly one of my favorite purveyors of Neo-Berlin school EM. Epikus will probably appeal to fans of Scab, but it should be noted that Lakveet's soundscapes are less melodic and noticeably less polished in terms of sound design, and while he probably traverses more sonic territory and infuses his compositions with a greater sense of variety, he also often relies on fairly unfocused song structures in order to accomplish this. If you are a fan of constancy or a more traditional song format, however, you shouldn't necessarily let this turn you off, as Lakveet often discovers uniquely compelling combinations of sequencer patterns within the context of his unrestrained experimentation.

Epikus has an ancient Roman theme, and although I can't really say that these sequencer tapestries are evocative of any imagery from that time period, I have to give Lakveet credit for using a foundational concept that bypasses the many thematic clichés of the EM genre. We get started on a particularly foreboding note in the form of "Zama, 202 A.D.," which features a slowly morphing atmosphere complete with apocalyptic choirs and analog washes of synth effects a la the introduction of Tangerine Dream's "Cherokee Lane" from Encore. As the song evolves, Lakveet showcases his distinctive approach to Berlin school EM, which is best characterized by wildly chaotic sequencers that refuse to be dictated by the constraints of the traditional EM song format.

The next piece, "Anabasis (the retreat of the ten thousand)", gets right into the sequencing, and in a little over a minute it introduces an attitude-laden bass sequence that'll make you feel like you're even more of a bad-ass than the rap-blaring teens in the car next to you (just make sure to turn it up even louder then them ;-) ). At 3:15, a sequence that embodies the aforementioned chaotic qualities makes its entrance, and it possesses such an unrestrained presence that it completely dominates the soundscape for the 45-seconds of its duration.

"Intentionis (Intention)" begins with some eerie ambient washes, which give rise to a slow melodic sequence that utilizes a tribal xylophone-like voice. The organic elements fade quickly to make way for more sequencer mayhem, although this time Lakveet throws in a few mid-to-late '70s Tangerine Dream lead lines, nicely customized to accommodate the erratic soundscape that underpins them.

Following the first three pieces, which range in length from 9 to 11 and a 1/2 minutes, Lakveet chooses to focus on shorter pieces (all under 6 minutes), which express slightly more cohesive themes without undermining the overall feeling of disarray that appears to be this album's hallmark. First up from this portion of the album is "Cogollum Cogito (Harvest shoot)", which is noteworthy in that it features more of those tribal-esque synths, and the supporting synth that can be heard from 1:16 to 1:42 reminded me of Vangelis' Soil Festivities. "Evanesco (Disappear)" again embraces this album's more customary synthetic sound palette, and also boasts one of my favorite sections on the album, where an ascending melodic sequence is perfectly complimented by all manner of brooding lead lines, intertwining supplementary sequences, and nuanced yet impactful sound effects. For me, this section was just about the pinnacle of Lakveet's approach to Berlin school, as it managed to maintain the album's distinctive style while still conveying a sense of underlying synchronicity.

"In Hoc Signo Vinces (With this sign you will conquer)" begins with what sounds like the burbling of some primordial swamp. As the piece progresses, a menacing sequence seems to creep from out of the murky depths, finally surfacing after a minute or so. A promising beginning, but the song never really develops beyond an uncharacteristically repetitive sequencer and some uninspired sound effects and melodic accents. Fortunately,"No ni Vull (Not, and I don't want)" compensated by featuring one of the most purposeful sequences of the album, and although the development was limited, it was appropriate given that this is the shortest song on the album at just over 3 minutes.

"Ecce (As well)" had a definite appeal for me, an affinity that I attribute to the masterfully crafted interplay between the simple yet effective melody of the laser-sharp lead line and the syncopated sequence. "Initiamenta (Initiation)" has an introduction that captures the more tranquil aspects of celestial phenomena, after which a particularly "prickly" sequence appears. "Ferox (Ferocity)" follows, and this is definitely my favorite piece on the album. The sequence that is introduced at 1:24 is simply top-notch: complex, infectious, and in keeping with the song's title, downright ferocious. Later, Lakveet further accentuates the song's impact by incorporating a subtle trance pulse. We conclude on an atmospheric note in the form of "Vastitas (Huge)", which suggests that Lakveet is giving us time to absorb the intense emotions expressed during the preceding feast of sequencers.

Although I did appreciate Lakveet's attempt to transcend the often times purely repetitive, trance-inducing template of his Berlin school peers, I also found myself wishing that he would infuse his compositions with a more discernable sense of focus and structure. Overall, however, Epikus was an ambitious and often times satisfying excursion into the more untamed realms of EM, and I will be keeping my eye on John Lakveet in the future.