A group of shorter abstract electronic pieces. The rhythmic sensibility feels more like that of spoken language than music. Described as, “Un-ornamented and Brutalist”, I was expecting it to be a bit more harsh than it is, while not exactly Brutalist, it is enjoyable and original electronic music.
“Composed and recorded by Elías Merino between CeReNeM (Centre for Research in New Musics) and Madrid.”
If you want to give your speakers a workout, play this loud. (Various extremely high bpm manipulations of sounds from drum machines.)
“Explorations of sounds created by drum synths + saturation at very high bpm. Mathematica software was used to generate MIDI files in which the bpm increases/decreases exponentially, with an exponent set at the Golden ratio (1.618 or 0.618). The tempo of the drums goes up to 300,000 bpm.”
The only information accompanying the album is, “Microphone + Computer assistance.”
Mics left live in the wind? Mics inside a crumpling paper bag rolling in the wind? Those are my best guesses, but I’ve no idea what systems or devices Kevin Drumm used to create this album. Still, despite its mysterious origins, a strangely compelling recording.
I do love a project. Anyway, I drive to Oakland every Monday for band practice. On the way home, I usually listen to something. But, anything too long gets cut off. I decided, the SuperPang catalog is a good choice, as most releases around 20-30 minutes long and all, (so far,) seem to be at least pretty interesting.
It really is pretty goofy, vintage video game like sounds over stompy quasi-dance beats. I swear some of the sounds come from frogger. Changes frequently enough to stay interesting. Perfectly appropriate for late night driving among the Uber drivers and tech bros Tokyo Drifting from one exit to the next.
“A pair of long wabbit acid techno pearls from the infamous trans-European duo: Roc Jiménez de Cisneros and Stephen Sharp aka EVOL.”