Tracteur Directrice De L'A.S.M.A.
Panoramic electronics somewhere between Autechre, Cairo’s 1127, Helm and Porter Ricks, deploying two side-long isolationist dubs that sprawl from washed out low-end spasms to fractured triplets that ricochet and escalate into a brutal, beautiful wall of sound.
Unglee Izi, whoever he or she may be, follows the single-minded but expansive course of a handful of solo albums since 2016 with a glacial confluence of booming subs and shivering hi-hats with slow-burning textural attrition and sublime pads that develop into a heaving mass of synth noise. That dense bleakness is held in elemental balance with moments of astonishing beauty, like peaking up above the mist to catch a glimpse of vast panoramic vistas at night.
’Sécurité du Premier Monde Tracteur Directrice de LASMA’ on the A side treks from reverberating bass hits and gamelan-like shudders up steep ravines, joined by rising cold winds and biospheric bleeps into blizzard-like dynamics, eventually revealing a peak of string pads and basses recalling the crest of ELpH’s ‘pHILM #1.’
The B-side deploys relentress trills and hi-hat rhythms descending a sheer granite face of synth pads that open out with a staggering sense of foreboding scale, only to calve away in avalanches of digital noise in the most visceral sense possible.
Panoramic electronics somewhere between Autechre, Cairo’s 1127, Helm and Porter Ricks, deploying two side-long isolationist dubs that sprawl from washed out low-end spasms to fractured triplets that ricochet and escalate into a brutal, beautiful wall of sound.
Unglee Izi, whoever he or she may be, follows the single-minded but expansive course of a handful of solo albums since 2016 with a glacial confluence of booming subs and shivering hi-hats with slow-burning textural attrition and sublime pads that develop into a heaving mass of synth noise. That dense bleakness is held in elemental balance with moments of astonishing beauty, like peaking up above the mist to catch a glimpse of vast panoramic vistas at night.
’Sécurité du Premier Monde Tracteur Directrice de LASMA’ on the A side treks from reverberating bass hits and gamelan-like shudders up steep ravines, joined by rising cold winds and biospheric bleeps into blizzard-like dynamics, eventually revealing a peak of string pads and basses recalling the crest of ELpH’s ‘pHILM #1.’
The B-side deploys relentress trills and hi-hat rhythms descending a sheer granite face of synth pads that open out with a staggering sense of foreboding scale, only to calve away in avalanches of digital noise in the most visceral sense possible.
Description
Panoramic electronics somewhere between Autechre, Cairo’s 1127, Helm and Porter Ricks, deploying two side-long isolationist dubs that sprawl from washed out low-end spasms to fractured triplets that ricochet and escalate into a brutal, beautiful wall of sound.
Unglee Izi, whoever he or she may be, follows the single-minded but expansive course of a handful of solo albums since 2016 with a glacial confluence of booming subs and shivering hi-hats with slow-burning textural attrition and sublime pads that develop into a heaving mass of synth noise. That dense bleakness is held in elemental balance with moments of astonishing beauty, like peaking up above the mist to catch a glimpse of vast panoramic vistas at night.
’Sécurité du Premier Monde Tracteur Directrice de LASMA’ on the A side treks from reverberating bass hits and gamelan-like shudders up steep ravines, joined by rising cold winds and biospheric bleeps into blizzard-like dynamics, eventually revealing a peak of string pads and basses recalling the crest of ELpH’s ‘pHILM #1.’
The B-side deploys relentress trills and hi-hat rhythms descending a sheer granite face of synth pads that open out with a staggering sense of foreboding scale, only to calve away in avalanches of digital noise in the most visceral sense possible.
