Arash Moori
Heterodyne
Boomkat Product Review:
Delivering an album of complex intricacies structured around the sounds of electrical currents and home made electronic devices, Arash Moori socks Type with a blinding side of light-to-sound experiments.
The culmination of over a decade spent accruing an incandescent palette of electrical sounds - strobe lights, fluorescent crackle, radios, plasma balls and other devices - 'Heterodyne' buzzes with an elemental attraction and freeform, uncannily emotive personality that's key to the Type aesthetic.
And that's more than just a coincidence: since 2000 Arash has been in close contact with Type's John Twells, both attending the same Art School in Birmingham, and DJing/co-promoting a handful of nights in the city, influencing each other along the way.
From this early synchronicity and a subsequent move back to Finland, Arash has developed a unique electrical vernacular, using a minimal setup of synths, self-built devices and oscillators to shape his lucent sample banks into coarse techno and void-lighting drones.
At their purest, his tracks pulse and protrude with an atonal aggression, but follow them closely and you’ll discover moments of startling drama in 'Flowers of Evil', thru the rave-eyed spirals of 'Nerves and Wires', or the glorious burn of 'Ruins', arguably saving the best for last with an extended cranium-extrusion of cranky techno entitled 'Tantalum March’.
As Twells explains:
"This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but ‘Heterodyne’ may be one of the most personal record I’ve released on Type to date"
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Boomkat Product Review:
Delivering an album of complex intricacies structured around the sounds of electrical currents and home made electronic devices, Arash Moori socks Type with a blinding side of light-to-sound experiments.
The culmination of over a decade spent accruing an incandescent palette of electrical sounds - strobe lights, fluorescent crackle, radios, plasma balls and other devices - 'Heterodyne' buzzes with an elemental attraction and freeform, uncannily emotive personality that's key to the Type aesthetic.
And that's more than just a coincidence: since 2000 Arash has been in close contact with Type's John Twells, both attending the same Art School in Birmingham, and DJing/co-promoting a handful of nights in the city, influencing each other along the way.
From this early synchronicity and a subsequent move back to Finland, Arash has developed a unique electrical vernacular, using a minimal setup of synths, self-built devices and oscillators to shape his lucent sample banks into coarse techno and void-lighting drones.
At their purest, his tracks pulse and protrude with an atonal aggression, but follow them closely and you’ll discover moments of startling drama in 'Flowers of Evil', thru the rave-eyed spirals of 'Nerves and Wires', or the glorious burn of 'Ruins', arguably saving the best for last with an extended cranium-extrusion of cranky techno entitled 'Tantalum March’.
As Twells explains:
"This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but ‘Heterodyne’ may be one of the most personal record I’ve released on Type to date"
Boomkat Product Review:
Delivering an album of complex intricacies structured around the sounds of electrical currents and home made electronic devices, Arash Moori socks Type with a blinding side of light-to-sound experiments.
The culmination of over a decade spent accruing an incandescent palette of electrical sounds - strobe lights, fluorescent crackle, radios, plasma balls and other devices - 'Heterodyne' buzzes with an elemental attraction and freeform, uncannily emotive personality that's key to the Type aesthetic.
And that's more than just a coincidence: since 2000 Arash has been in close contact with Type's John Twells, both attending the same Art School in Birmingham, and DJing/co-promoting a handful of nights in the city, influencing each other along the way.
From this early synchronicity and a subsequent move back to Finland, Arash has developed a unique electrical vernacular, using a minimal setup of synths, self-built devices and oscillators to shape his lucent sample banks into coarse techno and void-lighting drones.
At their purest, his tracks pulse and protrude with an atonal aggression, but follow them closely and you’ll discover moments of startling drama in 'Flowers of Evil', thru the rave-eyed spirals of 'Nerves and Wires', or the glorious burn of 'Ruins', arguably saving the best for last with an extended cranium-extrusion of cranky techno entitled 'Tantalum March’.
As Twells explains:
"This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but ‘Heterodyne’ may be one of the most personal record I’ve released on Type to date"
Boomkat Product Review:
Delivering an album of complex intricacies structured around the sounds of electrical currents and home made electronic devices, Arash Moori socks Type with a blinding side of light-to-sound experiments.
The culmination of over a decade spent accruing an incandescent palette of electrical sounds - strobe lights, fluorescent crackle, radios, plasma balls and other devices - 'Heterodyne' buzzes with an elemental attraction and freeform, uncannily emotive personality that's key to the Type aesthetic.
And that's more than just a coincidence: since 2000 Arash has been in close contact with Type's John Twells, both attending the same Art School in Birmingham, and DJing/co-promoting a handful of nights in the city, influencing each other along the way.
From this early synchronicity and a subsequent move back to Finland, Arash has developed a unique electrical vernacular, using a minimal setup of synths, self-built devices and oscillators to shape his lucent sample banks into coarse techno and void-lighting drones.
At their purest, his tracks pulse and protrude with an atonal aggression, but follow them closely and you’ll discover moments of startling drama in 'Flowers of Evil', thru the rave-eyed spirals of 'Nerves and Wires', or the glorious burn of 'Ruins', arguably saving the best for last with an extended cranium-extrusion of cranky techno entitled 'Tantalum March’.
As Twells explains:
"This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but ‘Heterodyne’ may be one of the most personal record I’ve released on Type to date"
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*After 13 years, this is one of the longest in-the-making releases in Type’s catalogue, produced by close friend of the label Arash Moori. Highly Recommended for fans of Pan Sonic, Joachim Nordwall or Prurient*
Boomkat Product Review:
Delivering an album of complex intricacies structured around the sounds of electrical currents and home made electronic devices, Arash Moori socks Type with a blinding side of light-to-sound experiments.
The culmination of over a decade spent accruing an incandescent palette of electrical sounds - strobe lights, fluorescent crackle, radios, plasma balls and other devices - 'Heterodyne' buzzes with an elemental attraction and freeform, uncannily emotive personality that's key to the Type aesthetic.
And that's more than just a coincidence: since 2000 Arash has been in close contact with Type's John Twells, both attending the same Art School in Birmingham, and DJing/co-promoting a handful of nights in the city, influencing each other along the way.
From this early synchronicity and a subsequent move back to Finland, Arash has developed a unique electrical vernacular, using a minimal setup of synths, self-built devices and oscillators to shape his lucent sample banks into coarse techno and void-lighting drones.
At their purest, his tracks pulse and protrude with an atonal aggression, but follow them closely and you’ll discover moments of startling drama in 'Flowers of Evil', thru the rave-eyed spirals of 'Nerves and Wires', or the glorious burn of 'Ruins', arguably saving the best for last with an extended cranium-extrusion of cranky techno entitled 'Tantalum March’.
As Twells explains:
"This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but ‘Heterodyne’ may be one of the most personal record I’ve released on Type to date"
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