A prolific artist gains merit not only by the quantity of work he has produced over time. He is also being challenged by a higher standard the moment his work becomes available for the public’s purview. We can never stress enough that more doesn’t mean better, and less doesn’t mean worse. The amount can be overwhelming to both the artist and his audience. The response might be positive, negative, or worse, passive. The pressure looms and weighs him down at times, whether he accepts it or not. Listeners cannot be treated as a non-market, only factored in as a measure of popularity, because this perception, let’s be honest, is demeaning. It’s like writing on a diary, keeping your innermost thoughts to yourself, locking them away for no other living soul to find. Music doesn’t work that way. It is shared, and while it may not appeal to everyone’s taste, then who’s to dismiss it as failure? Pleasing everyone is not the goal, because if it is, then I should end this short discussion right now.
For some though, a good exposure can mean finding your footing and working from it. Along the way, people start to listen. People who, after spending their time on binge-listening to countless audio files tagged as ‘electronic music’ all over the Internet, finally find artists they deem to fit the same altitude as theirs. Simply put, someone whose music they can relate to, not just for the next two minutes, but possibly, in the long haul. With Jorge Wieneke’s massive repertoire of work, ranging from sampling old records to his multifaceted mood of suave electronica, there is a beat for every occasion – all evidently drawn from inspiration, or even the absence of. Just like a line from one of the tracks in his new record tells us, “It has nothing to do with obligation, it’s pure symbiosis. It’s similar objects.” Whether it connotes or denotes his moniker, it says a lot.
After an impressive 20 releases (excluding his collaborative efforts with other artists and his RnB project, Nouvul), it seems like Jorge Wieneke has no one else to surpass but himself. The themes vary from brooding and deep-set (ShiFt(Age), organic and ambient (The Limits of Thought, Acquainted with the Light, Finding Astral Lovers, OverSoulUrgy), dramatic and reflective (inner temple, inLike (eve), DreamSpell), to a nod to his roots (synchronicity is the norm, Cosmic Stillness, no/noir, Vril Virgoa Virgata). It’s almost safe to say, he had everything covered. But not quite. In a previous interview, Jorge dubbed Tilde~ as a “whole creature in itself,” something born and nurtured out of a collective feeling of longing and hopelessness – and it speaks in volumes. Before we conclude that this is a sullen and depressing record, it is not. Interestingly enough, this sense of hopelessness and longing worked its charm well enough to this release, allowing that energy to take a form of its own: tragic and beautiful. Arthur Schopenhauer, a philosopher, wrote that, “The inexpressible depth of music, so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain.”
Tilde~, in its most vulnerable moments, tells us the story of being trapped, while being in an open space. It’s like being surrounded by an overwhelming amount of elegance and arresting beauty, but the only comfort it can give is to resound what disturbs us from the inside. Thus, it frees us. And consequently, it lets the yearning and aching turn into tangible objects, beings of their own, like how “Transformation of Happiness”, “A Day of Singularity”, and “Delograft 5” (a favorite) tell us, hollow, glitchy, and and very much alive. “Belly”, “Infinite Love Is The Only Truth, Everything Else Is An Illusion”, and “Blue Resonant Storm” however, preserve the nature of his emotions, of what were initially there. The chants, chimes, and elemental beats serve as the landscape of his plea for something, or someone. Evidently, there’s no scrimping in the technical side of the production. Or singing, for that matter. “Licheness”, a lilting and spirited track, employs snippets of this record’s philosophies, in words. August Wahh of neosoul outfit, Chocolate Grass, who also fronts Nouvul with him, is an easy favorite in “Sasquasohuh”, a soulful number with plenty of groove to spare. Another favorite, “K(no)w More”, proves how much adept Similar Objects is, not only as an individual, skillful artist, but a producer with an ear for musicality. “MT” and “W8” are extensions of his work in Finding Astral Lovers andThe Limits of Thought, a display of thoughtful interpretation and expression of ambient sonics.
If memories are considered as imprints in the brain, music serves as a time capsule that carries feelings and memories. They are not exact and infallible in nature, but it allows us to take a glimpse to someone’s life and may even help us understand and interpret things more than words can aid us. This is how, as Tilde~ succeeds in telling us, we are connected, symbiotic, similar to each other.