Rumori is the solo project of cellist, composer, and sound engineer Jason Adams. Adams’ new EP, Kii, was born from a single of the same name, but moves the project deeper into new territory with electronic manipulation, composition, and artist remixes.
While Kii is the only new original track on the EP, it doesn’t feel at all that the material was recycled to create a new release. The title track is beautifully varied and dynamic, contrasting Adams’ signature cello with warm beats, a crawling high-end polyrhythm, and glitchy production. Here, Adams is combining neoclassical chamber music and electronica to cohesive and gorgeous results.
The track “Kii” really comes into its own when what sounds like a Japanese koto comes in with a melody that lays over the top of the mix. Then, the glitch production goes further, cutting into the cello that is the center of the track once the time signature changes. Kii takes the electro-acoustic chamber sound that Rumori has been cultivating to a new, more unique level.
The new territory continues with the three remixes. First is a reimagining of “Kii” from fellow, L.A.-based musician and artist Cruel Diagonals. While it is another take on the same song, it becomes a track all its own.
The listener never stops in dissatisfaction that the remix is too similar to the original. The palette may be the same, but with the addition of dizzying vocals and more choppy production, it becomes a piece that is brand new and beautiful. Even the beat takes on a new form within a different context. While it remains minimal, the chopped remix makes the short take interesting and varied all the way through.
Next are two remixes from Rumori’s first release, an EP called Deviance that I—full disclosure—released on my record label Wishful Thinking. It brings this friend, supporter, and admirer pride to hear these tracks take on new life, but that is only because they are earnestly interesting and made new.
The first of these tracks is a remix of the track “Algi” by Protean. It opens with the atmosphere of Adams’ cello before it is promptly changed with a techno-inspired beat. It pulsates and trudges on easily, with swirling atmosphere from Adams’ cello. The beat develops into a wholly new plain for the distant wails of Adams’ playing to dance around.
Lastly, the remix of “Tarantula” by CD Player takes the warm cello of the single from Deviance and makes it distantly horrifying. The beginning atmospherics recall the home production of Set Fire to Flames. You can hear the room. Samples are used to compliment this atmosphere, and the main melody peers its way through to remind you to stay afraid.
The addition of beat production to Rumori’s work takes the project to a whole new level. While Rumori was always a fully realized project, the additional musicianship and new production perspectives push the electro-acoustic mindset further and develops the artistic process of an artist that should be looked out for into the future.
All proceeds of Kii are going to the charity Afrorack.