Sofa Surfers
Encounters

Valid Viennese project, following in the footsteps of fellow compatriots Kruder & Dorfmeister, the Sofa Surfers, despite a smaller background and discography compared to their illustrious cousins, have over time carved out a prominent role on the intriguing Austrian scene. After several style changes recurrent with each release (those who have heard the unusual self-titled sequel can fully understand), the four Austrian DJ producers this time opt not so much for a clear and obvious exploration of new sounds, influences, and experiments (something certainly not new in the genre), but rather for an interesting sonic alchemy on which almost the entire third studio work, named "Encounters" and released in 2002, is based. Sounds with a "dirty" attitude (scratching, mechanical-industrial FX, driving rhythms, and compelling beats) mix with more human and classical instruments (strings, violins, organs, sax, piano); their hunting grounds span from dub to reggae, trip hop, breakbeat but most importantly Hip Hop, the main ingredient in much of this album.

That Hip Hop is a genre adaptable and compatible with various sounds/genres is well known by now; just think of early 90s hip-house, some episodes from the Chemical Brothers' discography, some of Trickyane's productions, the numerous electronic projects that have embraced the choice of rapped vocal lines, moving through more commercial pop proposals that increasingly employ rapped Hip Hop guest beats, and I could go on for hours, but here one does not encounter the sounds of Juxtapose, nor the Outhere Brothers, nor Norman Cook's collages or anyone else, but rather something in some ways new and unusual. Indeed, the street attitude of the double H now meets the electronic avant-gardes of the Austrian quartet, with playful and sunny ragga vocals now accompanied by dark urban-industrial productions that mentally take us back to Austrian soil, a panorama far from the lively reggae colors. One might think there's nothing new, but it is with a concentrated and technical listen that this fundamental side is fully understood, which is actually the concept around which all the work revolves, and which will later prove to be the famous alchemy that distinguishes Encounters, a halo of mist, gloom, and sonic agony of undeniable charm. There are no descriptions or samples that stand, I could snitch a few verses from some cheap poet, to highlight the decadence of this work, or borrow a few paragraphs from more theatrical reviews, or why not, place a "chilling" here, a "pain of living" there, but there's no need, this album only needs to be listened to in its full hour length to fully grasp it, improbable pseudo-philosophical licenses are pointless; however, a general overview of what is encountered on this album is at least a must.

Many illustrious guests (singers, rappers, raggaers, scratchers) collaborate on the cause: from ex-Jungle Brothers Sensational, who lends his perfect flow on the dark and sharp "Formula", to the talented Oddateee (of the Labteks crew) who lends his name to the incisive "21 St Century Army" (full of unusual rhythmic patterns, industrial sounds, and low frequencies at the limits of sub-tolerance), moving to Dj Collage who collaborates on as many as 3 tracks (the whirlwind let's-call-'em "raggadark" "Babylon Tymes" "Passin 'Tru" and "Twisted Tongue" which are the most concrete examples of the encounter between the ganjalands and the smoggy European industrial capitals, as well as that much-vaunted alchemy of mine. Meanwhile, Mc Santana takes charge of the disturbing "Selling Souls" where frenzied breaks alternate with disturbed pauses and dead spots with singular oriental flashes. Mark Stewart provides voice and scratches on the hard-hitting "Home Truths" rich with various influences ranging from rock to trip hop. Within the fogged 13 tracks of "Encounters", there are also more "illuminated" moments that make their worthy appearance within a work never so dark and oppressive: this is the case of the soulful touches in the profound "Can I Get A Witness" (remarkable the singing of Dawna Lee) and the masterpiece "See The Light", strong with the vocal performance of the late Junior Delgado, showcasing the full power and expressiveness of his voice. The description of these two tracks? More or less what you will hear throughout the album, except here it's Junior and Dawna who bring a bit of vitality back to the Sofa productions; everything else is pitch black, and THERE ARE NO further glimmers of light. 

I always appreciate any product that steps out of predefined schemes, from the clichés of even more predetermined genres; the more unclassifiable a product is, the more fascinated I am, it seems to be a trailer of the just-reviewed album, a work certainly not easy listening and/or assimilation, perhaps due to too many influences, or the total absence of any predictable genre-class schemes that more and more schematic wannabe listeners seek, but mainly due to the confusing, menacing, and disturbed atmosphere that reigns supreme for all sixty minutes, which certainly does not make Encounters a classic relaxing album, nor a hip-hop for a jam throw your hands up in the air, nor a ragga soundtrack to get stoned with company. Well, maybe for an unlikely journey to cloudy industrial destinations, post-war metropolises, tormented urban areas, it might be fine.

PS: A piece of advice? crank up the volume, lights off, instrumental track number 13 on air "Gamelan", I challenge anyone not to be hypnotized/entranced. A must-have album.