If you'd ask me how to define the musical style of Pascal Pinkert, I would't be able to formulate a politically correct response, but words like genius, crazy, inventive will come to mind. And rightly so, because there's only one way to describe the Dutch producer and that is: a crazy inventive genius of sound that is, as he likes to put it himself, "always in search of ancient mysteries. Under his Dollkraut moniker, Pascal has been making analogue heavy pop records as early as 2009 and has appeared on a handful of game-changing imprints such as Sound Architecture, Doppelschall, The Gym, Amsterdam's finest Tape Records and even on planet Munich's famous Permanent Vacation.
Under his Marsman moniker, Pascal runs the highly innovative label Pinkman and its well-niched sub-label Charlois and under the name Bernard Crochet he appeared on Brand Brauer Frick's The Gym for whom he also did a stunning rework of 'I Mean' which got him a lot of attention for managing to create what came to be known as fake originals. I could go on and on about Dollkraut's legacy, but I want to leave the joy of discovery to all of you, each of his releases are exceptionally in their own unique way, from the delirious organs and insane synths of Zero, the ominous bass-lines and opiated vocals of Fire, to the deep cinematics of his debut LP Schimanski's Black Lullabies or to the lazy house beats of Loot. One thing's for sure though: you won't find 2 similar tracks in his entire discography and there's more diversity and entertainment in his music that in all of beatport today!
The latest Dollkraut release came out about a month ago after a full year hiatus following his debut LP and, I have to say, it was well worth the wait. Released on his very own Charlois impring, Hornet Green sports 4 energetic tracks that once again showcase Pascal's wizardry of fusing together house beats and electro synths with leftfield instruments and pop arrangements while adding a sensible touch of 80s inspired synth lines, vocoder lyrics and unbearable at times amounts of emotion. I'm temped to stamp the krautrock label on this one, as it's the closest he has ever got to the genre per se, but let's just call it electronic alchemy to be fair. Take MasterMaster for example and its Knight Rider-esque bass-line, toy synth melodies, brass leads and 90s vocal cuts, all heavily filtered down and with plenty of analogue noise to go. Or Bruce Wayne, a seemingly simple and laid back beat track that turns into a vocoder-heavy, crying-synth melancholia whose tremolo strings rends your very soul.
And then there's Hornet Green on the flip-side with its 70's spy flick cinematics enforced by the groovy bass-line and latin percussions and layered with mystery synth melodies and twirling strings. The vertigo Pascal started 3 tracks ago ends in full hypnotic spin with Valium, a narcotic introspective journey through dark vocal whispers doubled by industrial electro keys, wailing flutes, marching drums and eerie synth pads. It's also the last glimpse we have of those enticing 80s bass guitar licks we heard in the beginning as we slowly plunge into the deep dark depths of a black hole in Sagittarius A*.
But the journey doesn't end here. Hornet Green is still available for purchase considering the limited 300 issues pressing so give yourself and your friends the right present this xmas ;)