Classic ’90’ Dutch electro available to download officially for the first time!
No messing with this stuff, just straight up body work in four parts, especially raw in Een Drumcomputer & Een Synthesiser, with subtler flavours of Cybotron funk in Untitled (1), and a dank cinematic trip to be found in Untitled (3).
CPU slice off two slo-mo highlights from Nadia Struiwigh’s debut album, Lenticular onto 12”, including the brooding mass of the title cut and her swampy midnight trek, Trip In Fiction.
The Rotterdam-based artist’s follow-up to 12”s with Rosedale Records and ADRO Records pursues an atmospheric line of enquiry on Lenticular, with grumbling bass and spidery trills elegantly carrying a top heavy payload of keening, bittersweet pads and gauzy choral work into a smudged, impressionistic space between early B12 and Æ.
Flipped she rolls on a purring slo-mo engine into awning ambient realms recalling the vibes of Joey Beltram’s Aonox album or ambient early-mid ‘90s Plastikman, but with a smudged, gauzier resolution that time-stamps it to 2017.
Lenticular is the full length debut of Nadia Struiwigh, an electronics music producer from Rotterdam who work recalls the fluffy but melancholy styles of Warp’s AI series or the likes of BoC and Biosphere.
Two of the album’s highlights, Lenticular and Trip In Fiction are given a side per piece on the accompanying 12”, but there’s also seven more on this full version, gliding between the smooth harmonic developments of Intrope to alien pastoral tribal feels on Space Tribe, Extra Terrestrial, and 4Es, or The Orb in Genetically, while the 2nd half of the album takes turn towards moodier intervenes, culminating in the moon-booted PLCS and the album’s most insistent push with 010101.
Drily funked-up, low-key but lush minimal house swingers from Area, getting into a Matthew Herbert like moody groove with rlgl and heading somewhere more introspective in the gauzy atmospheres and hiccuping bump of Notice.
“Idle Hands strides towards the summer with a transmission from a kindred spirit across the pond. Area, sometimes known as m50, has been flying the flag for forward thinking electronic music in Chicago for a long time. His radio shows on WNUR have a distinctive quality one step to the side of the music his hometown is best known for, while his label Kimochi Sound has released incredible music from the likes of Benjamin Brunn, Strategy and many more besides.
As a producer Area has been equally prolific since first emerging in 2007. From Ethereal Sound and Steadfast to UntilMyHeartStops and Sequencias, his various approaches to rhythm and texture are all bound together by a meditative quality that feels like a perfect fit for Idle.
On this single, both sides of the 12 continue the theme of dusty, dusky 4/4 Area is most widely known for, locking on to a house groove while sporting the abstract atmosphere of techno. Rlgl is an understated, emotional heater that uses looped up fragments as a counterpoint to the more lilting strings and static that bed the track. Notice takes a more overtly melancholic approach with its lingering, heavily processed keys that drift in between a tough set of drums. There's a punch to the track that will translate beautifully to a big system, even as the melodics spell out a more intimate listening experience.”
Uniquely twysted ‘floor torque from Kush Arora aka Only Now, leaning in deft and heavy on Canada’s Infinite Machines.
We last heard the San Fran-based producer on his eponymous tape in 2015, and it’s fair to remark on both the contraction and expansion of his sound in since then in the Timeslave EP.
Basically the beats are tighter and the acres of noisy, negative space feel super wide, perfused by swarms of synthetic duppies and hallucinatory visions, turning up really solid highlights in the infectious blank and step of Liquid Eyes, with the hyper-tribalised pressure of Timeslave, and the fractious, bullying kuduro drums and intensely detailed sound designs projected by Remote Viewing.
Twwth & Desto’s Signal Life introduce Inner’s bolshy fusion of R&G and industrial-strength trap with his debut four-track black label.
From the front, it sounds like they’re trying to tune to a ghost pirate radio station with the fractious, noisy swerve and piquant vocal sampled in Pain, whilst Crystal Ember veers into high-strung trap-trance. Close ratchets the intensity with strobing edits applied to rusty ballroom stabs in cone-crumpling style, and Roll Out clocks off on a see-sawing grime tip with extra punchy drums.