Semuin- Province
[The Wire] UK
With the cover artwork of FS Blumm, mastered by Greg Davis and released under a name that conveys next to nothing, this album from Berlin´s Jochen Briesen is one of those fine-boned forest creatures that only emerges from the shadows when you pretend to be looking away. The structures are delicate, barely more than torn scrims of acoustic sounds, rumpled snatches processed effects. Pay close attention an they all but disappear. The occasional bold gesture may still catch you unawares, however, such as the extended quotation from Stravinsky´s Symphony Of Wind Instruments at the end of "Lok" or surging, rapidly spliced voices on "Lktubii". Out of such moments are strong passions born. "It´s really a fucking great record," says Greg Davis. "I love it." And so will you.
-Ken Hollings

Semuin- Province
[Losing Today] IT

Semuin- Province
[RARE FREQUENCY]
Portland's Audio Dregs has pulled another rabbit out of their hat (the first was the recent solo release by Yuichiro Fujimoto) with this debut CD by Berlin's Semuin.  With a few exceptions (an extended Stravinsky sample, for instance), Semuin's ingredients list is pretty standard fare: acoustic guitars, untuned piano, kalimba, cute spoken word samples, and so forth and so on.  And yet, even though he employs many of the devices and some of the clichés of the unfortunate sub-genre known disparagingly as folktronica,  Semuin manages to transcend them, creating a very pleasing amalgam of pop melodicism and impressionistic sound collage, which is quite personal, largely by virtue of its little idiosyncracies, but not saccharine or overly self-conscious. 

Semuin- Province
[TEXTURA]
It doesn't surprise that Greg Davis endorses Semuin's (Berliner Jochen Briesen) Province so enthusiastically in press info accompanying the release. After all, Semuin's organic approach is complementary to Davis's own: both demonstrate an equal affection for bucolic, natural sounds derived from acoustic instruments and field recordings, as well as digital manipulations of that material and electronic sounds in general. In fact, Semuin's “Uppland,” a meditative setting of piano, kalmia, and acoustic guitar, might just as easily have appeared on Arbor or Curling Pond Woods ; his processing treatments do tend be more conspicuous than Davis's, however, a sometimes weakening factor. “Grimes,” for example, is distinguished by its appealing layers of acoustic guitar but unnecessary accompanying noise competes with and at times overshadows it. (Interestingly, the voiceover's text also appears in “Sasu Spielt,” his contribution to Neo Ouisa's Cottage Industries 4: Meadow compilation.) And while a charming interweave of kalmia and vibes floats through “Lok,” again the smothering electronics that lumber and grind like a slow-motion wave throughout are at times intrusive, though the piece ends memorably with a quotation from Stravinsky's Symphony of Wind Instruments.

This isn't to suggest that his handling of electronics is always wanting. “Gobi,” for example, proves a deft integration of multiple elements. Here Semuin weaves Oval flutter and stutter, vibes, strings, and phantom voices into a compelling though still thoroughly abstract whole. Often a simpler approach reaps greater dividends, cases in point “Nuigini,” a peaceful setting of flute fluttering and soft tones, and the Taciturn-like “Nacht Karl” with its child-like array of electronic nursery tinkling.
Dave Miller

Semuin, ‘Province’
[Loop] CL
This is the debut album of Berlin based Jochen Briesen who brings out an organic sound comprised by guitar, handclaps, flute, kalimba, melodica, organ, glitch and samples. The music is in the likes of other label mates such as Lullatone or FS Blumm. These samples are specially voices, child screamings which gives a very intimate and a naive feeling. This is perfectly notice on ‘Gries’ which are like different stories happening at the same time together with the most rough sound in this album. Another notable here is ‘Kendiha’ with its mellancholic dialogue through the melodica and organ [kind of] that little by little unfolds a nice song after four minutes when everything comes together in a cohesive way by the guitar chords and the shinny melodica lines.
-Guillermo Escudero, May 2005

SEMUIN - PROVINCE CD
(Audio dregs/Darla) FR
If the name of Semuin is not yet familiar for you, then speak musical family, bus in music like elsewhere, it is often a question of circles of friends, of copinage. Semuin, which is not other than the artistic entity behind which the Berliner Jochen Briesen hides, already badly did not fricoté with some artists more recognized than one appreciates much here. To start with FS Blumm which had invited Semuin on its very beautiful Sesamsamen, and which offers to him in return a quite pretty small pocket in own way of ornamentation to this Province. Greg Davis also, which took care of the mastering, and acknowledges being fallen in love with this first album. Anne Laplantine finally (reciting here a text of Dick Higgins on Gries), and with whom it recently collaborated for an album coming. To quote these some names, that helps us with better encircling the catch, because its music sails a little in same water as those of brilliant Frank Scültge and Greg. It is about a peaceful music to the out of date charm, gently melancholic person, illuminated of a veiled sun, sometimes releasing a light perfume of exoticism, where the dry guitar develops timbered harmonies with the inflections sometimes jazzy, with some keys of piano, kalimba, harmonium, flute, percus, environmental noises taken on sharp... the voice are not remains about it, and make frequent appearances, which it is in the form of account, of samples or joinings which are not without pointing out The Books. All that is arranged with mischievousness by Semuin, which being let guide by its intuition, makes evolve/move its compositions and is authorized some controlled skids. Thus, with the 8 minute old wire of Lok, one begins while letting oneself rock by softness a kalimba and a trumpet, then one is disturbed by a light heating of the printed circuits, to finish on a symphony for winds of Igor Stravinsky (if if!). Just like Yuichiro Fujimoto, of which Kinoe is offered to us jointly by the same house, Semuin, with few means but much good ideas, delivers an attaching, personal, free music to us of very forced; all things considered, it makes as good seems to him, and that seems to us good.
-Sebastian Radiguet

SEMUIN - PROVINCE CD
(Audio dregs/Darla) FR
Si le nom de Semuin ne vous est pas encore familier, alors parlons famille musicale, car en musique comme ailleurs, il est souvent question de cercles d’amis, de copinage. Semuin, qui n’est autre que l’entité artistique derrière laquelle se cache le berlinois Jochen Briesen, a déjà pas mal fricoté avec quelques artistes plus reconnus que l’on apprécie beaucoup ici. A commencer par FS Blumm qui avait convié Semuin sur son très beau Sesamsamen, et qui lui offre en retour une bien jolie pochette en guise d’ornementation à ce Province. Greg Davis aussi, qui s’est chargé du mastering, et avoue être tombé amoureux de ce premier album. Anne Laplantine enfin (récitant ici un texte de Dick Higgins sur Gries), et avec qui il a récemment collaboré en vue d’un album à venir.
De citer ces quelques noms, cela nous aide à mieux cerner le bonhomme, car sa musique navigue un peu dans les mêmes eaux que celles des géniaux Frank Scültge et Greg. Il s’agit d’une musique paisible au charme suranné, doucement mélancolique, illuminé d’un soleil voilé, dégageant parfois un léger parfum d’exotisme, où la guitare sèche développe des harmonies boisées aux inflexions parfois jazzy, avec quelques touches de piano, kalimba, harmonium, flûte, percus, bruits environnementaux pris sur le vif…Les voix ne sont pas en reste, et font de fréquentes apparitions, que ce soit sous forme de récit, de samples ou de collages qui ne sont pas sans rappeler The Books. Tout cela est agencé avec malice par Semuin, qui se laissant guider par son intuition, fait évoluer ses compositions et s’autorise quelques dérapages contrôlés. Ainsi, au fil des 8 minutes de Lok, on débute en se laissant bercer par la douceur d’un kalimba et d’une trompette, puis on se trouve perturbé par un léger échauffement des circuits imprimés, pour terminer sur une symphonie pour vents d’Igor Stravinsky (si si!).
Tout comme Yuichiro Fujimoto, dont le Kinoe nous est offert conjointement par la même maison, Semuin, avec peu de moyens mais beaucoup de bonnes idées, nous livre une musique attachante, personnelle, libre de toute contrainte ; en somme, il fait comme bon lui semble, et cela nous semble bon.
-Sebastian Radiguet