Venetian Snares — Rossz Csillag Allat Született

I refuse to introduce this man any longer. This is (you’d almost start cursing) Aaron Funk’s 12th (!) studio album in a way too short time. I, as a devotee of his music, have to admit that his latest couple of albums haven’t impressed me as much the albums did in the period 2001-2002. The concept of this album however, seemed interesting enough to lay my hands upon another Snares album.

So, Mister Funk was on a European tour and also visited the country of Hungary. In the capital Budapest he was standing at the Királyi Palota (Budapest Royal Palace) when he suddenly felt like being a pigeon. Flying above the palace, the city, through small alleys hiding obscure jazz clubs, breathing the atmosphere of the 1930s. There where musicians with long beards play the violin, trumpet and piano, performing sad love songs. The depressive nature, hopelessness, misery and craving for a love unreachable takes hold of the soul… Well, I’ve been there myself and there wasn’t a single moment I got the urge of flying away all of a sudden. But that the man behind Venetian Snares is a rather disturbed person is something we knew for some time now.

Rossz Csillag Allat Született (meaning “Born Under A Bad Star”) is as mentioned a Hungary-inspired album. That can be heard in the heartbreaking violin-parts, piano-pieces and trumpet-tricks, something that got Aaron Funk himself learning how to play those instruments. I’m pretty sure I can hear some parts sampled from a Hungarian movie as well. To make entirely sure that the Hungarian influence can’t be overlooked, a cover of Reszo Seness is included. This song Öngyilkos Varsárnap (dating from 1933) is known as the “Hungarian Suicide Song”. It was remade in 1941 by Billie Holiday naming it Gloomy Sunday and a sample of this track can also be heard. The album consists merely of symphonic, very carefully crafted and epic classical compositions, altered by dark ambient escapades. Technically unbelievable high-minded, emotionally very strong in the dreamy and miserable state of mind. Moreover, it is very compelling.

I almost forgot to mention that the Venetian Snares’ trademark is present actually; the art of completely destroying music by unleashing unparalleled drill ‘n bass, gabber breakbeats and all kinds of cut & paste scams upon it. Electronic bleeps above a previously beautiful trumpet solo; Aaron Funk doesn’t give a shit. But that is what makes this music – and the man himself – unique. On this record (I won’t type the title again – you should see the songtitles!) he fortunately doesn’t corner us with sonic terror all the time. Mostly, the songs build up smoothly towards a climax, with Hajnal as highlight. Only towards the end of the track Második Galamb you want to take a dive into the direction of the volume-button. With this you’ll chase even deaf persons out of your house.

The record is full off references to the Slavic way of life and East-European beauty and primitivism, ingeniously musically translated. Exciting, symbolic, prolific and progressive. Beautiful and ugly at the same time. Very moving, but because of the brilliance it makes me happy again. Venetian Snares touches a tender spot here. It has been too long ago I got goose bumps from a Vsnares album.