Boomkat Product Review:
Janus crew's M.E.S.H. unpackages a vast internal world across the ornate topographies of his incredible debut album.
Combining scything club dynamics and Hollywood sound design with a sample bank of archaic renaissance instruments, 'Piteous Gate' describes a hyperreal place-out-of-time framed by matrices of tessellating grids and vapour-trace contours rent in near-VR detail. Collapsing the stadium-sized structures of "festival trance" with oblique elements of baroque improv and jump-cut club tempos, his collages present an incisive critique of dance music's affect and perceived boundaries, especially in light of our current state of information overload.
Written quickly over winter 2015, it feels like M.E.S.H's attempt to parse the world around him thru the prism of his CPU - a world of flux variously informed by 24 hour news coverage, the unprecedented fingertip access of Youtube and google to unlimited culture, and one of increasingly fluid gender boundaries. Bearing that in mind, 'Piteous Gate' is an acute, if abstracted, benchmark of nowness; from the opener's cinematic rush; thru to the sim stim renaissance fantasies of 'The Black Pill'; the amorphous dancefloor ambiguity of 'Epithet''s worksite percussions or the rubber-necking structure of 'Methy Imbiß'; or the sparring computer gamers of 'Kritikal & X; he appears to turn the machine inside out, diffusing its exoskeleton to reveal the sheer noise gradients and writhing mechanical logic beneath, and, in the process, question the emotional value we now draw from these aesthetics and dynamics. That said, it could also be taken as proper sci-fi action joy ride, and comes hugely recommended to fans of his Janus crew (Lotic, Kablam, T C F), Autechre or Arca.