I’ve been following Treha Sektori since his debut because his approach to sound is very unique within dark ambient culture. However, in his latest releases, Treha Sektori has been somewhat circling around what we already know he does great. Hearing that Russia’s Grains of Sand imprint is putting out a tape edition of his digital Acermeh release for his March shows in Moscow and St. Petersburg kind of left me feeling something between excited and skeptical, especially when one keeps in mind that the tape edition presents material that was recorded during previous live shows. Actually, it gets ever more specific than that: all recordings of Acermeh on this release were pulled from from events where Treha Sektori used only his voice and body to build his signature soundscapes.
The astonishing cover artwork for the release is folded around a tape holding five movements, all performed in 2015 and all developing in the very same direction. Minimal percussion, probably made from microphone hits, and lows from pitch-shifted voice combine into the primary foundation of these tracks, above which more vocalized sounds like breaths and whispers are looped and layered. They do manage to structure an exceptionally tense atmosphere. It’s impressive how convincing those pieces are having in mind how minimal the set up behind them is. In just six minutes, with little more than a microphone, a looper, and a bit of delay, reverb, and octavers, Treha Sektori successfully throws his audience into the realms of his sound, and I mean deep into them. No, this collection of pieces doesn’t reinvent Treha Sektori’s music, but clearly neither is that its purpose.
However, despite the album’s namesake, the closing piece in ‘Saneh Fernah’ is the track that truly stands out on Acermeh. It’s the only track that sounds powerfully produced, which finally allows the music to become more than just an individualistic recollection from a performance. It sounds light but not uplifiting, and for a bit over four minutes, it firmly grabs you by the throat and leaves you somewhere between life and death, where Treha Sektori’s music has been always meant to exist. Still, it’s difficult to get around the necessity to point out the fact that a new step forward for the project is more than just welcome—it’s a necessary evolution.
5) Saheh Fernah