Dictaphone’s distinctive, unique sound falls somewhere between film noir soundtrack music, jazz and the Middle East. Which makes sense, considering that bandleader Oliver Doerell does a lot of movie scores. The group’s often sweepingly crepuscular instrumentals are much more lush than one would expect from just three musicians, yet it’s also very minimalist: no note goes to waste here. Their new album Goats & Distortions 5 – streaming at Bandcamp – expands on their exploration of what they call “morbid instruments.”
The album’s opening track, simply titled O, has a loopy trip-hop beat beneath drifting ambience over that could be muted pizzicato violin, or a processed guitar riff, or a sintir at a distance: it’s often hard to isolate who’s playing what here. Clarinetist Roger Döring looms sparely and moodily as the atmospherics pulse in and out.
The second track, Island 92 quickly coalesces into a hypnotic Middle Eastern groove, Döring’s bass clarinet chromatics weaving broodingly, then suddenly dropping out for Alex Stolze’s hazy violin. From there, Doerell builds a terse, resonant web of guitar clang and atmospherics.
Döring’s sax and Stolze’s violin waft uneasily over Doerrell’s sintir loop and a lo-fi electronic click track in track three, titled 808.14.4. The album’s title track is in two parts: the first a brief, swoopy, minimalist loop pastiche and the second a trickily rhythmic, darkly surreal dub interlude, pings and blips contrasting with spare bass and morose bass clarinet.
Likewise, washes of grey noise, bass clarinet and amplified loops from an old, broken tape recorder mingle mournfully in Tempete et Stress. Il Grande Silenzio is anything but, a lament with funeral parlor organ and more of that bass clarinet, plus some creepy robotic textures.
M – which doesn’t seem to be a salute to the iconic Peter Lorre horror film – is the driftiest interlude here. Helga Raimondi takes an enigmatic cameo on the mic in Your Reign Is Over, a rainy-day Balkan reggae dub theme. They close with Griot Dub, which is not a reggae tune but a grey-sky tableau.
Fun fact: the band take their name from a lo-fi tape recorder with a variable-speed motor, invented in the late 40s and commonly used in offices as late as the 1990s. It was meant to free up secretarial staff from the slow process of taking dictation. A typist could transcribe the tape and slow the machine down if the person doing the dictating was speaking rapidly. There was also Dictaphone etiquette: to avoid mistakes in transcription, it was considered de rigeur to enunciate slowly and clearly, to spell out proper names and difficult words, and to thank the typist – almost invariably a woman working for near-minimum wage – at the end of the tape.