It’s still summer but that doesn’t stop us from presenting some recently released experimental tracks that pushes the boundaries in electronic music. In this wrap up we have contributions from Pinkcourtseyphone, Drew McDowall, Robin Rimbaud/Ursula Berlot and Katie Gately, plus a bonus synth from v::tol.
Robin Rimbaud (Scanner) enlisted the talents of Slovenian artist Uršula Berlot to create a kinetic visual accompaniment for the composition. “I imagined a kind of a mental landscape, mixing words and images in a very abstract way”, she explians. “That’s why figurative elements – parts of men face and women body parts appear partially. I do like eroticism to be involved in a very discrete way.”
Just as Katie Gately manipulates sounds, Kudela manipulates dramatic footage of volcanic landscapes, snowy wastelands and dark waters to visualise the Gately’s journey of grief, from the micro detail of a windswept petal to the vast expanse of space.
Loom is out now, on Houndstooth.
Moving away from the industrial sounds of his work with Coil and Psychic TV, on Agalma Drew McDowall explores a transcendent new sonic vocabulary with the help of a new generation of experimental pioneers, including Caterina Barbieri, Robert Aiki Aubrey Lowe, MSYLMA and Elvin Brandhi.
“The elements are on the edge of existence and within those moments the distinction of inner and outer worlds become designed hallucinations with unexpected visible struggles only to end with the fundamentals. As the eyes follow the dark shadows we begin to fall into a temporal space of immediacy and emotion.”
Agalma arrives on September 18 via Dais Records.
Pinkcourtesyphone returns with the follow up to 2017’s Indelicate Slices. Charting more melancholic psychic territory over nine new compositions, Leaving Everything To Be Desired sees Richard Chartier picking up the Pinkcourtesyphone alias once again. On the first single, ‘another interior’, lush, textural sound is paired with undulating animations from Alan Callander.
Leaving Everything To Be Desired arrives on September 25 and is available to pre-order now.
And as promised some sweet synth experimentation to round the week off:
The device is based on the school experience of imitating bass lines at the desk and a fun way to disturb teachers. The instrument can be classified as an automated plucked contrabass monochord. Changing the pitch is done by quickly changing how far the ruler is extended relative to the nut. Movements, plucks and presses of the ruler along the nut are driven by powerful and fast motors, which allows playing pretty fast lines. 2 pressing motors can work simultaneously or selectively, which allows you to choose the register: the range and amplitude of oscillations depends on the place in which the ruler is clamped before the pluck. The sound is picked up by a small piezo element, which is getting hits by a ruler directly (the instrument has no resonator). The instrument is equipped with 12 touch keys, each of which can be reassigned to a specific length of the ruler. A small OLED display is used to select modes, tune notes, and indicate processes and states.