‘People Like Diagrams’ by COLDITZ is music only in its most literal sense; an 11 track collection of what are described as ‘minimal-orchestral-electro compositions,’ this is full-on chin stroking stuff indeed. I’m gong to call it ‘music’ herein, but you get what I mean – I think when Mr Colditz uses the word ‘compositions’ he’s not referring to traditional, musical arrangements (or ‘songs’ as they’re sometimes known), but artistic creations, in a ‘parts that make something up’ kind of way.
The thing is, People Like Diagrams is so not what you’d expect, so non-conformist, it’s actually quite difficult to form opinions on. Is it any good? I dunno really... if you asked me if it was the sort of thing I’d listen to a lot, keep coming back to, I’d say no. But do I even like it? Not sure... Not much of review so far I know, but bear with me.
In the absence of a directly musical comparison, this piece of work is most reminiscent of Godfrey Reggio's stoner film, Koyaanisqatsi; a strange, hypnotic audio/visual expression of the organic and mechanical world in which we live. It’s widely heralded as a work of genius; ahead of it’s time (1983). Could the same be applied to Colditz? My gut feeling – and that’s the best I can go with – is no. But if it’s any consolation, the only time I’ve watched Koyaanisqatsi my finger hovered over the fast forward button pretty much throughout...
Look at it this way: the foundation of People Like Diagrams seems to be experimentation. Colditz throws different sounds together and if they work – in an aurally pleasing way – then great; if they don’t work then that’s great too because they’re obviously not supposed to. You could say he’s drawing together the genetic strands of some preordained sonic melange. Or you could say he’s playing musical pin the tail on the donkey.
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Track one, ‘The Galaxy,’ is quite atmospheric; repetitive, plonking piano, scratching percussion and erratic heartbeats, embellished with the occasional synth blast and prolonged pause. It builds quite satisfyingly throughout its duration without ever becoming, dare I say it, tuneful.
‘Trying to Make Perceptual Motion’ is slightly more harmonious, sewing the seeds of a spooky sterility that will grow little-by-little throughout the rest of the record.
‘Psycopation’ features some refreshing layers of sleazy trumpet and piano, fused (obviously) with a constantly ‘pinging’ microwave sound and ‘shaking a crate of milk bottles’ percussion. ‘Monosample’ just reminds me of Stomp; a bunch of people I saw on Blue Peter once who jump up and down banging dustbin lids and shaking bits of guttering. ‘3 Up Left’ is even more bizarre, a mix of sound effects that might have been recorded in any suburban front garden (birds, car doors slamming) that intensifies throughout the piece’s four and a half minutes to its rumbling, truck engine groan of a finale. Guaranteed to give you the fear.
So there you go, all very subjective stuff; you’ll probably either love it or be completely ambivalent. But then again, Colditz knows exactly what to expect; he has no intention of making straightforward, uncomplicated music – it’s all about you doing the work. Maybe he decided to call this recording ‘People Like Diagrams’ with people like me in mind; perhaps he should have called it ‘What Do You Want? A Map?’
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