Return Unto Void is Matt Katman's exploration of the Void as ecstasy, and indeed it conjures up the joys of simplicity. From the stunning artwork to the engulfing sounds , I can't help but think of Danny Boyle's Sunshine and the celebration of empty space, its endlessness and its nothingness.
Favorite track: Void 1.
"Also worthy of extreme rotation is the fabulous cassette album RETURN UNTO VOID by The Rainbow Body, whose extraordinarily distressed and melancholic sounds pass briefly before listeners like some spectral Viking burial ship unexpectedly emerging momentarily into view from the haze of Scapa Flow before seeping back into its death-black night. Indeed, this too-brief 35-minute album is chock full o’tracks awaiting serious remixes, and it’s the brevity of each piece that’s forced this particular listener into periods of perma-rotation during this past festival month. Released on their own RBS Records, The Rainbow Body is led by one Matt Kattman, whose morose chordal deportment and choice of sound FX is guaranteed to ensnare anyone with a jones for that heat haze sound located within Takehisa Kosugi’s CATCH-WAVE, Klaus Schultze’s IRRLICHT and mucho mid-period Popol Vuh. So grab this cassette – even ye without the proper C90 tape facilities – for y’all shall also receive a ticket to the free download, and this compelling lickle babby is a must for these long early January days."
-Julian Cope/Head Heritage
"The supernova, or maybe the life-cycle of a star, birth to blinding death. It’s too hot and bright and just plain loud inside something as epically everlasting as eons of light bursting out into the endless heavens, so we should be glad someone like Matt Kattman is able to approximate the event taking place in a relatively short time-span with a guitar on a cassette tape. Articulation and movement is a blur, and the colors are there, but there’s no real prism with which the sound can refract out into the cornucopia of hues you might expect from someone who tags his project “the Rainbow Body.” Instead, that rainbow is hidden within the drones, an immaculate range of frequencies on display with melodies bursting from a warm wash like solar flares, plumes of sound arcing over the atomic furnace before diving back into the fiery depths. Mastered by James Plotkin, this is the second double A-sided Rainbow Body tape of 2012, the perfect format for Kattman’s drones since definition is far from his calling card — Return Unto Void is an infinite moment, the beginning, middle, and end of which are all equally immersive and nearly interchangeable, largely because they don’t really exist."
-Tiny Mix Tapes
"The Rainbow Body is Mr. Matt Kattman, his guitar, and a handful of
effects pedals, but you'd never guess that just by listening. The sounds on Return Unto Void range from synth-like tones to hypnotic washes of ambient static, deep fuzz drones, and layered, looping melodies and chords that are almost orchestral in texture. In fact, "Void 3" (the tracks are labeled as Void 1-8) is not unlike listening to a chamber orchestra perform on a 747 preparing for takeoff. The strength of this song, and much of Return Unto Void, is in Mr. Kattman's propensity for lost, forlorn fragments of melody awash in a warm bath of hiss and hum. Certainly fans of psychedelic, noise, and drone-oriented music like Keiji Haino, Sunn O))), and Earth will understand the appeal of this music, but even some mainstream-ish rock fans may find something to like about The Rainbow Body, given the strong melodic elements and the fact that most of the tracks average around 3 minutes. It's ambient drone music for people with short attention spans. Matt Kattman's minimalist guitar work is masterful on The Rainbow Body's Return Unto Void, offering a breath of fresh air to a genre that can grow stale and boring very easily. The ever-shifting moods and sonic landscapes are definitely worth spending some quality headphone time with, whether on those adorable little cassette tapes or in the digital format of your choice via Bandcamp."
-Pro Guitar Shop
"An eight part songsuite, with each part bleeding organically into the next, the sound here is alternatingly sun dappled and dreamy, droned out and sinister, the sound at times reminding us of a more spaced out new age-y Roy Montgomery, lush languorous chords, drifting weightless in sprawling expanses of layered shimmer, loops tangled into dreamlike swirls of soft focus melody. Cosmic and celestial, wreathed in reverb and echo, notes and chords caught in swirling clouds of muted buzz and raga like thrum, darkly meditative, and divinely mesmerizing, anyone into psychedelic drone music, kosmische new age drift and minimal guitarscapery will want to get lost in the Rainbow Body's woozy, washed out prismatic soundworld."
"It seems that the term “void” is loaded with more negative connotations than positive. As a noun, it often depicts somewhere shut off, disconnected from life and the physical, stripped of light and soul; to occupy the void is to embody loneliness, and to exist (or perhaps non-exist) in a nowhere, aeons away from somewhere. But in the latest album by The Rainbow Body, the “void” manifests as a place of enlightenment. One is not detached from the world around them but transcends it; not prised away from time’s unfolding but knowingly oblivious to it – the “void” is a climax of bliss, consuming consciousness in a panoramic kaleidoscope of colour and flickering lights. The record’s eight tracks occupy a meditative stasis with cyclical movements (sometimes explicitly melodic, sometimes looser and seemingly improvised) occurring within, often hovering between Tim Hecker’s warm distortion shower and the foggy ambient horizons of Andrew Chalk. Even the album’s sparser stretches feel colossal in scale, surging in intermittent bursts and evaporating like the astral trails of comets, merging into various harmonic formations and colliding gently in chance chord patterns. But the album truly shines (blazes, more accurately) during the more ecstatic overloads of sound, in which the entire soundscape fizzes and shivers with positive energy: the wondrous sunrise of “Void 1”, the weightless psychedelic mantra of “Void 7”."
"The Rainbow Body's second album of the year is celestial stargaze...all guitar FX looped and reverbed out...way, way out. The guitar drone sculpting of Matt Katman is perfectly executed on his tape of void wandering music. Eight compositions, each titled "Void" (then numbered 1-8), imply floating through the endless darkness, but never cause the listener fright. This is positive music. PMA! As lush as Kattman's guitar chords are, he never gets lost in his own waves. Drones give way to high & low tides of sound and occasional melodies appear deep beyond the outer realms of the cosmos - begging the guitar player to grab hold and ride. Music for space cadets...blast off...2001 is our past, time to go where no man has gone before."
"This is the second cassette I have heard from The Rainbow Body and I am very impressed. Fans of Imaginary Softwoods, Mark McGuire and Fennesz will be totally into this. I am in love with the looping, swirling, guitar and keyboard drones. It's amazingly restrained with just the right amount of dirt. This also sounds across the board amazing. It's nice to see a band that cares enough to pay for James Plotkin to master their cassette. It looks good. Nice, clean, modern typography and lust full color cover make this a damn attractive piece of work. Buy this right away. This one is going on a "best of" list."
"The Rainbow Body’s newest release named ‘Return Unto Void’ is a perfectly fitting title. The album has the ability to make your mind wander to open… endless… voids of space and then rockets you back down to the nearest planet before you even know what hit you. The loops, waves and atmospheric layers of Matt Katman may put you in a trance like state if you are weak minded or happen to be in a coffee shop in Amsterdam."
-Feed Me With Your Kiss