The brilliant Ale Hop returns after her transcendent collab with Laura Robles with a jerky suite of genre-baiting rhythmic flexes for the SUPERPANG imprint. Short, sweet and corrosive, it's a lusciously organic electronic excursion that splits the difference between Raster Noton and early 4AD. You've gotta hear it to believe it.
Cutting her teeth in Lima's experimental underground in the early '00s, Alejandra Cárdenas Pacheco has spent the last decade refining her solo voice, using extended guitar techniques, hotwired synthesizers and FX. 'Ruinas Arqueológicas' follows a breathless run of records for the brilliant Buh imprint, the last of which - this year's 'Agua Dulce' - saw her reimagine traditional Peruvian music alongside cajón player Laura Robles. This time around, Ale Hop takes the rhythm into her own hands, creating fractured, glitchy sequences that fizz, pop and sizzle next to her rubbery guitar tones. She fucks with the tempo on the first segment, rumbling through intricate distortions before stumbling into double time and pointing towards the stars. But her whimsical, windswept slides provide a little light relief, referencing Cluster or Neu! while the beats stutter like Ryoji Ikeda's.
And on the third section, Cárdenas shifts into reflective, lounge-y indie, almost nodding to the Cocteau Twins/This Mortal Coil era with shimmering riffs that dance around her piercing glitches and beatbox thuds. She touches brickwall intensity on 'IV', with an undulating flurry of kicks that's over before it's even started, providing a counterbalance with the psychedelic artmelt of 'V', a tangled guitar-led composition that's like Ry Cooder piped thru a pedalboard of broken boxes. It all leads us to the record's sixth and final anecdote, an unstable, ascending rush of pulses and clicks that drives an intense, industrialized blur of metallic clangs, strangled vocals and searing noize. Chaotic but somehow systematic, it's a mesh of sonic contradictions that expands her range into unheard dimensions.
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The brilliant Ale Hop returns after her transcendent collab with Laura Robles with a jerky suite of genre-baiting rhythmic flexes for the SUPERPANG imprint. Short, sweet and corrosive, it's a lusciously organic electronic excursion that splits the difference between Raster Noton and early 4AD. You've gotta hear it to believe it.
Cutting her teeth in Lima's experimental underground in the early '00s, Alejandra Cárdenas Pacheco has spent the last decade refining her solo voice, using extended guitar techniques, hotwired synthesizers and FX. 'Ruinas Arqueológicas' follows a breathless run of records for the brilliant Buh imprint, the last of which - this year's 'Agua Dulce' - saw her reimagine traditional Peruvian music alongside cajón player Laura Robles. This time around, Ale Hop takes the rhythm into her own hands, creating fractured, glitchy sequences that fizz, pop and sizzle next to her rubbery guitar tones. She fucks with the tempo on the first segment, rumbling through intricate distortions before stumbling into double time and pointing towards the stars. But her whimsical, windswept slides provide a little light relief, referencing Cluster or Neu! while the beats stutter like Ryoji Ikeda's.
And on the third section, Cárdenas shifts into reflective, lounge-y indie, almost nodding to the Cocteau Twins/This Mortal Coil era with shimmering riffs that dance around her piercing glitches and beatbox thuds. She touches brickwall intensity on 'IV', with an undulating flurry of kicks that's over before it's even started, providing a counterbalance with the psychedelic artmelt of 'V', a tangled guitar-led composition that's like Ry Cooder piped thru a pedalboard of broken boxes. It all leads us to the record's sixth and final anecdote, an unstable, ascending rush of pulses and clicks that drives an intense, industrialized blur of metallic clangs, strangled vocals and searing noize. Chaotic but somehow systematic, it's a mesh of sonic contradictions that expands her range into unheard dimensions.
The brilliant Ale Hop returns after her transcendent collab with Laura Robles with a jerky suite of genre-baiting rhythmic flexes for the SUPERPANG imprint. Short, sweet and corrosive, it's a lusciously organic electronic excursion that splits the difference between Raster Noton and early 4AD. You've gotta hear it to believe it.
Cutting her teeth in Lima's experimental underground in the early '00s, Alejandra Cárdenas Pacheco has spent the last decade refining her solo voice, using extended guitar techniques, hotwired synthesizers and FX. 'Ruinas Arqueológicas' follows a breathless run of records for the brilliant Buh imprint, the last of which - this year's 'Agua Dulce' - saw her reimagine traditional Peruvian music alongside cajón player Laura Robles. This time around, Ale Hop takes the rhythm into her own hands, creating fractured, glitchy sequences that fizz, pop and sizzle next to her rubbery guitar tones. She fucks with the tempo on the first segment, rumbling through intricate distortions before stumbling into double time and pointing towards the stars. But her whimsical, windswept slides provide a little light relief, referencing Cluster or Neu! while the beats stutter like Ryoji Ikeda's.
And on the third section, Cárdenas shifts into reflective, lounge-y indie, almost nodding to the Cocteau Twins/This Mortal Coil era with shimmering riffs that dance around her piercing glitches and beatbox thuds. She touches brickwall intensity on 'IV', with an undulating flurry of kicks that's over before it's even started, providing a counterbalance with the psychedelic artmelt of 'V', a tangled guitar-led composition that's like Ry Cooder piped thru a pedalboard of broken boxes. It all leads us to the record's sixth and final anecdote, an unstable, ascending rush of pulses and clicks that drives an intense, industrialized blur of metallic clangs, strangled vocals and searing noize. Chaotic but somehow systematic, it's a mesh of sonic contradictions that expands her range into unheard dimensions.
The brilliant Ale Hop returns after her transcendent collab with Laura Robles with a jerky suite of genre-baiting rhythmic flexes for the SUPERPANG imprint. Short, sweet and corrosive, it's a lusciously organic electronic excursion that splits the difference between Raster Noton and early 4AD. You've gotta hear it to believe it.
Cutting her teeth in Lima's experimental underground in the early '00s, Alejandra Cárdenas Pacheco has spent the last decade refining her solo voice, using extended guitar techniques, hotwired synthesizers and FX. 'Ruinas Arqueológicas' follows a breathless run of records for the brilliant Buh imprint, the last of which - this year's 'Agua Dulce' - saw her reimagine traditional Peruvian music alongside cajón player Laura Robles. This time around, Ale Hop takes the rhythm into her own hands, creating fractured, glitchy sequences that fizz, pop and sizzle next to her rubbery guitar tones. She fucks with the tempo on the first segment, rumbling through intricate distortions before stumbling into double time and pointing towards the stars. But her whimsical, windswept slides provide a little light relief, referencing Cluster or Neu! while the beats stutter like Ryoji Ikeda's.
And on the third section, Cárdenas shifts into reflective, lounge-y indie, almost nodding to the Cocteau Twins/This Mortal Coil era with shimmering riffs that dance around her piercing glitches and beatbox thuds. She touches brickwall intensity on 'IV', with an undulating flurry of kicks that's over before it's even started, providing a counterbalance with the psychedelic artmelt of 'V', a tangled guitar-led composition that's like Ry Cooder piped thru a pedalboard of broken boxes. It all leads us to the record's sixth and final anecdote, an unstable, ascending rush of pulses and clicks that drives an intense, industrialized blur of metallic clangs, strangled vocals and searing noize. Chaotic but somehow systematic, it's a mesh of sonic contradictions that expands her range into unheard dimensions.