Tech Riders -
-Centre of Eternity
-From Her to Eternity
-The First The Last Eternity
-There is No Chance in Eternity
-From Eternity With Love
Tech Riders is Frans De Waard & Sindre Bjerga
Recorded at Worm, Rotterdam, The Netherlands,
February 26th-27th, 2019.
Mastered by Claus Poulsen.
(Vital Weekly) There is a point halfway through the first side of ‘For Eternity’ where you sit up and take notice. Of course, this might be different for everyone, and for me, it isn’t always the same exact sport, but about the four-minute mark something happens, and I’m drawn in. It starts as the static grows but peeking out from under its girth is this delicate melody that skits around momentary before being swamped by a load of noise and confusion. This melody would be a blink and you miss it cameo by your favourite actor in an unexpected film, but it makes you sit up and pay attention. Will it come back? Will you notice it if it does? Whether it does or doesn’t is immaterial. The damage has been done. You have been drawn into this murky world. ‘The First The Last Eternity’ features a section where bird being to sing. This is the highwater mark of the album. As the birdsongs grow more frequent the music is at its most abrasive and obtuse. What the birds do it give you something tangible to latch onto. They allow you to become unfocused on the glorious drones and pay attention to something familiar. It’s this familiarity that really hammers home the track. It also grounds it in reality. We have all heard birds singing. We know what it sounds like. We have also heard birds singing while the surface noise of life takes place. This is the moment that that ‘For Eternity’ really gets you onside. If you weren’t already on board by this point you are now. While listening to ‘For Eternity’ I am reminded of Carl Crack’s flawless debut solo album ‘Black Ark’. That album was a paranoid, dubby, concrete, claustrophobic affair filled with brutalist beats. At times it was too unrelenting and impregnable. ‘For Eternity’ feels like what ‘Black Ark’ would sound like if you removed all the beats and basslines. You’d be left with these twitching and writhing soundscapes. Of course, the two albums have nothing in common and by mentioning Crack’s work I am doing a disservice to Tech Riders. This isn’t about him. It’s about Sindre Bjerga and Frans de Waard’s intricate soundscapes. When ‘For Eternity’ ends there is a moment of brief reflective contemplation. You are aware that you have listened to something singular. Something that feels timeless and also contemporary. It also makes you question eternity. If this is what eternity sounds, and feels like, I’m pretty happy with that. - Nick Roseblade