Denzel + Huhn – Paraport

Denzel + Huhn
Paraport

If you don’t come into Paraport with any preconceived notions of experiencing something wholly original, you won’t be disappointed. Not to focus on the negative aspects of Denzel + Huhn’s record but if there is one thing that will detract listeners from the beauty of Paraport it may be that they’ve heard this all before. The duo takes on the minimalist, ambient style of modern electronic music crafted by peers like Jan Jelinek, Mountains, Gas, and especially Pole. In fact, Paraport sounds like it could’ve come from the same recording sessions that birthed Pole’s 1, 2, and 3.

The album begins with a plethora of swooning strings over which the duo lays down a bed of fractured cut ‘n’ paste style acoustic guitar. Over the course of the track, a static din grows in the distance. All of this juxtaposed against the backdrop of a muffled, throbbing, low-end beat. The album as a whole doesn’t steer too far from this course either. Its gorgeousness is inherent in the skill and brevity with which the tracks are sequenced and presented. Unlike others in the field, Denzel + Huhn don’t need to stretch anything past the five or six minute mark to get their point across for the most part.

For all of their efforts though, Paraport still doesn’t measure up to albums like Konigsforst or Loop-Finding Jazz Records. No matter how hard I try to convince myself that I’m hearing the duo’s work in its own light, the similarity to other records leaves me with a nagging feeling that the record is slightly too shallow. Paraport has an overall spacious and yet grainy feel to it, producing a heightened sense of nostalgia not unlike a record such as Boards of Canada’s Music Has the Right to Children. Sadly, Paraport‘s ability to inspire nostalgia for other, better records is what will keep it from getting repeated listens.