Kapitel is my first encounter with the music of Mischa Pavlovski, and from what I can figure, it’s his debut LP as well. However, don’t let the project’s youth surprise you: I’ll surely be keeping an eye on Pavlovski’s work for the immediate future since rarely can you get so lost in just forty minutes of music like I have with this album. As soon as you take the vinyl out from this beautifully designed record sleeve (which, honestly, should come as no surprise if you’re even a medial follower of the Posh Isolation catalog) and put it on the record player, you’re bound to be mesmerized.
There are no labels present on the record itself to inform you as to which side you’re actually listening to, and I suppose it doesn’t really matter anyway as looking for a hint on the insert will quickly show that all four tracks are untitled. It doesn’t take long for one to connect the dots: Kapitel is not a record that was created with the intention of telling the listener a story with a firm beginning and end. Instead, this is an LP where time loses meaning, where all that matters is literally being able to lose yourself in the music. It’s the kind of music where the kick drum is not there to pump blood in your heart and brain, but to psychically drag you into a sparse soundscape, built by firm bass pulsations, hypnotizing and captivating repetition, and slowly but gracefully unfolding minimalist melodies.
Mischa Pavlovski has set certain limits to his instrumentation on this album, and I think this is certainly to the benefit of the music as this is the defining element that gives Kapitel character. This is one of the most homogeneous electronic records I’ve heard to date—forty minutes of music that don’t even attempt to draw a straight line, but instead manage to build up within a full circle. Kapitel‘s replay counts will hit the roof since the ‘anonymity’ of the pieces is like a force field, taking control of your body and forcing you to just lean against the nearest wall and listen attentively.
I really wish I lived in a world where this was what club music sounded like. A world where the after-party hours were actually the party hours themselves—a reality that commands you not to go find something in the music, but get completely lost and turned upside down inside it. This is certainly one experimental artist to not forget in the near future.