Emptyset
Dissever
Boomkat Product Review:
Surveying the influence technology exerted on media in the 20th century, James Ginzburg and Paul Purgas use vintage hardware to crack open a portal into a parallel 1969 on their sixth emptyset full-length, braiding cosmic rock, 20th century minimalism and early electronic music.
On 2023's impressive 'ash', emptyset appraised their own history, applying their advanced spatialization to the kind of hard 'n heavy rhythmic routines that got them a few steps up the ladder back in the late '00s. And since then, both Purgas and Ginzburg have been conducting their own independent research, Purgas investigating electronic music in South Asia, and Ginzburg figuring out DIY techniques and improvisational methodologies with Osmium. All of this groundwork feeds directly into 'Dissever', that was written for the Tate Modern's "Electric Dreams" exhibition, an examination of the history of art and technology. Purgas and Ginzburg take the late '60s as a focal point, the period when technological advances were changing art (in all its forms) beyond recognition. So using era-specific tech they consider what exchange their might have been between various global musical evolutions - psychedelic rock, avant classical music and emerging synth variants.
This is emptyset, so don't assume you'll be getting anything purely figurative here. The duo fixate on the hypnotic, repetitive phrasing of these sounds, and use the buzzing, distorted tube tech to create an aesthetic universe that's bizarrely out of time. Sounding like a broken guitar amp rather than any synthesizer you might have come across, the core instrument is more of a feeling than a brush stroke, rooting emptyset's live improvisations in impressionism, or lysergic sleight of hand. You're expected to to consider the implications of technological creep when you perceive layered rhythmic sequences colliding with earbleed distortions on 'Gloam' and the fuzzy switchboard ambience of 'Penumbra', just like you were expected to pick apart machine learning on 2019's prophetic 'Blossoms'. And the duo are such talented engineers that their re-imagined 1969 is fascinating to exist in for a while - tune in on the right wavelength and you'll hear Hawkwind, Delia Derbyshire, Toru Takemitsu, Stockhausen and Arne Nordheim jamming in muzzy consonance.
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Boomkat Product Review:
Surveying the influence technology exerted on media in the 20th century, James Ginzburg and Paul Purgas use vintage hardware to crack open a portal into a parallel 1969 on their sixth emptyset full-length, braiding cosmic rock, 20th century minimalism and early electronic music.
On 2023's impressive 'ash', emptyset appraised their own history, applying their advanced spatialization to the kind of hard 'n heavy rhythmic routines that got them a few steps up the ladder back in the late '00s. And since then, both Purgas and Ginzburg have been conducting their own independent research, Purgas investigating electronic music in South Asia, and Ginzburg figuring out DIY techniques and improvisational methodologies with Osmium. All of this groundwork feeds directly into 'Dissever', that was written for the Tate Modern's "Electric Dreams" exhibition, an examination of the history of art and technology. Purgas and Ginzburg take the late '60s as a focal point, the period when technological advances were changing art (in all its forms) beyond recognition. So using era-specific tech they consider what exchange their might have been between various global musical evolutions - psychedelic rock, avant classical music and emerging synth variants.
This is emptyset, so don't assume you'll be getting anything purely figurative here. The duo fixate on the hypnotic, repetitive phrasing of these sounds, and use the buzzing, distorted tube tech to create an aesthetic universe that's bizarrely out of time. Sounding like a broken guitar amp rather than any synthesizer you might have come across, the core instrument is more of a feeling than a brush stroke, rooting emptyset's live improvisations in impressionism, or lysergic sleight of hand. You're expected to to consider the implications of technological creep when you perceive layered rhythmic sequences colliding with earbleed distortions on 'Gloam' and the fuzzy switchboard ambience of 'Penumbra', just like you were expected to pick apart machine learning on 2019's prophetic 'Blossoms'. And the duo are such talented engineers that their re-imagined 1969 is fascinating to exist in for a while - tune in on the right wavelength and you'll hear Hawkwind, Delia Derbyshire, Toru Takemitsu, Stockhausen and Arne Nordheim jamming in muzzy consonance.
Boomkat Product Review:
Surveying the influence technology exerted on media in the 20th century, James Ginzburg and Paul Purgas use vintage hardware to crack open a portal into a parallel 1969 on their sixth emptyset full-length, braiding cosmic rock, 20th century minimalism and early electronic music.
On 2023's impressive 'ash', emptyset appraised their own history, applying their advanced spatialization to the kind of hard 'n heavy rhythmic routines that got them a few steps up the ladder back in the late '00s. And since then, both Purgas and Ginzburg have been conducting their own independent research, Purgas investigating electronic music in South Asia, and Ginzburg figuring out DIY techniques and improvisational methodologies with Osmium. All of this groundwork feeds directly into 'Dissever', that was written for the Tate Modern's "Electric Dreams" exhibition, an examination of the history of art and technology. Purgas and Ginzburg take the late '60s as a focal point, the period when technological advances were changing art (in all its forms) beyond recognition. So using era-specific tech they consider what exchange their might have been between various global musical evolutions - psychedelic rock, avant classical music and emerging synth variants.
This is emptyset, so don't assume you'll be getting anything purely figurative here. The duo fixate on the hypnotic, repetitive phrasing of these sounds, and use the buzzing, distorted tube tech to create an aesthetic universe that's bizarrely out of time. Sounding like a broken guitar amp rather than any synthesizer you might have come across, the core instrument is more of a feeling than a brush stroke, rooting emptyset's live improvisations in impressionism, or lysergic sleight of hand. You're expected to to consider the implications of technological creep when you perceive layered rhythmic sequences colliding with earbleed distortions on 'Gloam' and the fuzzy switchboard ambience of 'Penumbra', just like you were expected to pick apart machine learning on 2019's prophetic 'Blossoms'. And the duo are such talented engineers that their re-imagined 1969 is fascinating to exist in for a while - tune in on the right wavelength and you'll hear Hawkwind, Delia Derbyshire, Toru Takemitsu, Stockhausen and Arne Nordheim jamming in muzzy consonance.
Boomkat Product Review:
Surveying the influence technology exerted on media in the 20th century, James Ginzburg and Paul Purgas use vintage hardware to crack open a portal into a parallel 1969 on their sixth emptyset full-length, braiding cosmic rock, 20th century minimalism and early electronic music.
On 2023's impressive 'ash', emptyset appraised their own history, applying their advanced spatialization to the kind of hard 'n heavy rhythmic routines that got them a few steps up the ladder back in the late '00s. And since then, both Purgas and Ginzburg have been conducting their own independent research, Purgas investigating electronic music in South Asia, and Ginzburg figuring out DIY techniques and improvisational methodologies with Osmium. All of this groundwork feeds directly into 'Dissever', that was written for the Tate Modern's "Electric Dreams" exhibition, an examination of the history of art and technology. Purgas and Ginzburg take the late '60s as a focal point, the period when technological advances were changing art (in all its forms) beyond recognition. So using era-specific tech they consider what exchange their might have been between various global musical evolutions - psychedelic rock, avant classical music and emerging synth variants.
This is emptyset, so don't assume you'll be getting anything purely figurative here. The duo fixate on the hypnotic, repetitive phrasing of these sounds, and use the buzzing, distorted tube tech to create an aesthetic universe that's bizarrely out of time. Sounding like a broken guitar amp rather than any synthesizer you might have come across, the core instrument is more of a feeling than a brush stroke, rooting emptyset's live improvisations in impressionism, or lysergic sleight of hand. You're expected to to consider the implications of technological creep when you perceive layered rhythmic sequences colliding with earbleed distortions on 'Gloam' and the fuzzy switchboard ambience of 'Penumbra', just like you were expected to pick apart machine learning on 2019's prophetic 'Blossoms'. And the duo are such talented engineers that their re-imagined 1969 is fascinating to exist in for a while - tune in on the right wavelength and you'll hear Hawkwind, Delia Derbyshire, Toru Takemitsu, Stockhausen and Arne Nordheim jamming in muzzy consonance.
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