Current is the new album by the Bucharest-based artist, the track titles of which make their theme more than apparent. Titles such as Volt, Phase and Ohm wear their hearts firmly on their sleeves: this is electronic music about electricity itself.
Da Bucarest un nuovo nome da aggiungere alla mappa dei musicisti techno che preferiscono operare nell'ombra: Syntax.
Current (a lovely title that can be seen as referring to both electricity and a sense of relevance) feels like an electropop record stripped to its bare essentials and then reassembled as art.
People like Syntax work very much along the early lines set out by Alva Noto, Jan Jelinek, Ryoji Ikeda or even Pole, but his approach is slightly more playful and lighter, most of the times, with some nasty bumps in ‘Dipole’ or ‘Vector.
C’est fou ce qu’on peut faire avec un brin d’imagination et, croyez-moi, il est difficile d’en démontrer davantage que l’artiste montréalais Adam Basanta.
Completamente immersi tra le intricate connessioni che sembrano non avere una forma specifica, materia impalpabile che danza nello spazio.
On Intricate Connections Formed Without Touch Montréal-based musician Adam Basanta takes a recording of a single acoustic guitar improvisation and re-contextualises it by chopping it up and rebuilding it.
Sur Intricate Connections Formed Without Touch, tout est fragment et assemblage, dé-construction et re-construction, composé à partir de l’enregistrement d’une guitare acoustique dont les sonorités sont revisitées via l’utilisation d’un laptop.
In his follow-up to Zwölftonform (2016) Andreas Lutz presents his latest set of eight new pieces, Binary Supremacy. The Kasuga Records (Berlin) release is in a limited edition of 100 copies via SD card and digital.
German artist Andreas Lutz brings us malfunctioning machines on his new album Binary Supremacy - on our first selection, a computerised voice spitting out numbers while drum machines scatter quasi-rhythmic patterns and a ravey bassline gradually asserts itself.
Although framed in thoroughly artistic terms of abstract aesthetics and exhibitions instead of performances, “Binary Supremacy” as an audio product fits quite nicely into the category of downtempo electronica and soundscaping.