"Machines will fail us" : those are the unsettling first words of this much expected new episode of the Polar Inertia odyssey. Starting with this ode to machinery, the tale plunges suddenly in a stark apocalyptic scenario. Along the 3:14' of the track "Kinematic Optics", this mysterious "polar inertia" eventually begins to materialize and reveal more its true essence.
Same might be said about this double EP, consisting of almost 75 minutes of music. First record is a black vinyl with the actual four pieces of the "episode". Second one is a white vinyl with the entire recording of their live "Can We See Well Enough To Move On", that had been given just once, in May 2014, for the closing of their expo in Brussels, at the project space/ gallery Abilene.
Again this illustrates Polar Inertia's will to be seen as an unidentified entity, where many participants contribute to the evolution of the Project : the expo in Brussels last year was indeed a collective effort, and the live you're listening to was given from a considerable distance, with streaming, to an audience that didn't see the performers from where they stood.
The four tracks of the first record convey the same feeling; of music that seems to be composed as a soundtrack for oblivion, and disappearance of individuals. Polar Inertia's techno is made with a very specific intent : taking the time to accurately tell a story, bring specific emotions, narrative noises and illustrations, integrating all elements in a contention between darkness and light, between a tale of Earth destroyed by nuclear weapons, and the blinding white-out of the Polar Children's wizardry.
We've been asked a lot of questions lately about Polar Inertia ; their mysterious posture has stirred up an unusual curiosity but if you really want to know more about PI, well, listen closely to these two records, for a lot of the answers lie in the music.
Same might be said about this double EP, consisting of almost 75 minutes of music. First record is a black vinyl with the actual four pieces of the "episode". Second one is a white vinyl with the entire recording of their live "Can We See Well Enough To Move On", that had been given just once, in May 2014, for the closing of their expo in Brussels, at the project space/ gallery Abilene.
Again this illustrates Polar Inertia's will to be seen as an unidentified entity, where many participants contribute to the evolution of the Project : the expo in Brussels last year was indeed a collective effort, and the live you're listening to was given from a considerable distance, with streaming, to an audience that didn't see the performers from where they stood.
The four tracks of the first record convey the same feeling; of music that seems to be composed as a soundtrack for oblivion, and disappearance of individuals. Polar Inertia's techno is made with a very specific intent : taking the time to accurately tell a story, bring specific emotions, narrative noises and illustrations, integrating all elements in a contention between darkness and light, between a tale of Earth destroyed by nuclear weapons, and the blinding white-out of the Polar Children's wizardry.
We've been asked a lot of questions lately about Polar Inertia ; their mysterious posture has stirred up an unusual curiosity but if you really want to know more about PI, well, listen closely to these two records, for a lot of the answers lie in the music.
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