Bleep

A postmodern masterpiece, Cid Rim defines his unique voice in modern electronic music distilling elements of choral pop and contemporary jazz. It’s often said that you need to leave a city before you start to understand its character. For celebrated producer Cid Rim, it took moving across a continent and hopping the channel to London to discover the nature of his native Vienna — or more specifically, the way it sounds. Bacher’s third album Songs of Vienna is an uproar of buoyant electronic production, a protracted and abstracted vision of dance music, but it is also an album about a certain place at a certain time.

Deeply rooted in Vienna’s touchstone scene of club-meets-rap amalgamations, riotous all-nighters and a hearty spirit of community, the sonic imprint across Songs of Vienna sees Bacher densely packing huge ideas into every detail. The frenetic energy of Hudson Mohawke is matched in the likes of ‘Friday’ and ‘The Marrow’, in which rave intensity and kosmische scope spars with heavy swinging of hip-hop production and effortless grooves. Each song is bursting at the seams with fantastical heights that it’s easy to overlook Songs of Vienna’s main differentiation from its predecessor, 2017’s Material; the presence of vocals. Bacher flits from distant, echoing delivery to steely vocoder throughout, showcasing a distinctly pop-minded optimism amid the experimentation.

An exhilarating progression in his work, Songs of Vienna proves a bold step forward in this talented producers career.